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This book offers an in-depth study of the poetics of creative writing as a subject in the dramatically changing context of practice as research, taking into account the importance of the subjectivity of the writer as researcher. It explores creative writing and theory while offering critical antecedents, theoretical directions and creative interchanges. The book narrows the focus on psychoanalysis, particularly with regard to Lacan and creative practice, and demonstrates that creative writing is research in its own right. The poetics at stake neither denotes the study or the techniques of poetry, but rather the means by which writers formulate and discuss attitudes to their work.
This book offers an in-depth study of the poetics of creative writing as a subject in the dramatically changing context of practice as research, taking into account the importance of the subjectivity of the writer as researcher. It explores creative writing and theory while offering critical antecedents, theoretical directions and creative interchanges. The book narrows the focus on psychoanalysis, particularly with regard to Lacan and creative practice, and demonstrates that creative writing is research in its own right. The poetics at stake neither denotes the study or the techniques of poetry, but rather the means by which writers formulate and discuss attitudes to their work.
This book considers how a combination of place-based writing and location responsive technologies produce new kinds of literary experiences. Building on the work done in the Ambient Literature Project (2016–2018), this books argues that these encounters constitute new literary forms, in which the authored text lies at the heart of an embodied and mediated experience. The visual, sonic, social and historic resources of place become the elements of a live and emergent mise-en-scène. Specific techniques of narration, including hallucination, memory, history, place based writing, and drama, as well as reworking of traditional storytelling forms combine with the work of app and user experience design, interaction, software authoring, and GIS (geographical information systems) to produce ambient experiences where the user reads a textual and sonic literary space. These experiences are temporary, ambiguous, and unpredictable in their meaning but unlike the theatre, the gallery, or the cinema they take place in the everyday shared world. The book explores the potentiality of a new literary form produced by the exchange between location-aware cultural objects, writers and readers. This book, and the work it explores, lays the ground for a new poetics of situated writing and reading practices.
With passion, wit, and good common sense, the celebrated poet Mary Oliver tells of the basic ways a poem is built-meter and rhyme, form and diction, sound and sense. Drawing on poems from Robert Frost, Elizabeth Bishop, and others, Oliver imparts an extraordinary amount of information in a remarkably short space. "Stunning" (Los Angeles Times). Index.
This polemic account provides a fresh perspective on the importance of Creative Writing to the emergence of the 'new humanities' and makes a major contribution to current debates about the role of the writer as public intellectual.
From Pakistani poet and Instagram darling Noor Unnahar comes a journal that encourages writers to explore their inner poet, through a variety of evocative and thought-provoking prompts, using Noor's captivating voice as a guide. This journal is where pop poetry and creative inspiration meet. With more than 100 writing prompts influenced by Noor's handwritten poetry and enchanting collages, this journal allows writers to explore their writing style and funnel it into meaningful, cathartic, provocative poetry.
A guide to the modes and methods of Creative Writing research, designed to be invaluable to university staff and students in formulating research ideas, and in selecting appropriate strategies. Creative writing researchers from around the globe offer a selection of models that readers can explore and on which they can build.
Social Poetics documents the imaginative militancy and emergent solidarities of a new, insurgent working class poetry community rising up across the globe. Part autobiography, part literary criticism, part Marxist theory, Social Poetics presents a people’s history of the poetry workshop from the founding director of the Worker Writers School. Nowak illustrates not just what poetry means, but what it does to and for people outside traditional literary spaces, from taxi drivers to street vendors, and other workers of the world.
Wallace Stevens once described the "malady of the quotidian," lamenting the dull weight of everyday regimen. Yet he would later hail "that which is always beginning, over and over"--recognizing, if not celebrating, the possibility of fresh invention. Focusing on the poems of Wallace Stevens, Robert Frost, Elizabeth Bishop, and James Merrill, Siobhan Phillips positions everyday time as a vital category in modernist aesthetics, American literature, and poetic theory. She eloquently reveals how, through particular but related means, each of these poets converts the necessity of quotidian experience into an aesthetic and experiential opportunity. In Stevens, Phillips analyzes the implications of cyclic dualism. In Frost, she explains the theoretical depth of a habitual "middle way." In Bishop's work, she identifies the attempt to turn recurrent mornings into a "ceremony" rather than a sentence, and in Merrill, she shows how cosmic theories rely on daily habits. Phillips ultimately demonstrates that a poetics of everyday time contributes not only to a richer understanding of these four writers but also to descriptions of their era, estimations of their genre, and ongoing reconfigurations of the issues that literature reflects and illuminates.