Charles Baxter inaugurates The Art of, a new series on the craft of writing, with the wit and intelligence he brought to his celebrated book Burning Down the House: Essays on Fiction. Fiction writer and essayist Charles Baxter's The Art of Subtext: Beyond Plot discusses and illustrates the hidden subtextual overtones and undertones in fictional works haunted by the unspoken, the suppressed, and the secreted. Using an array of examples from Melville and Dostoyevsky to contemporary writers Paula Fox, Edward P. Jones, and Lorrie Moore, Baxter explains how fiction writers create those visible and invisible details, how what is displayed evokes what is not displayed. The Art of Subtext is part of The Art of series, a new line of books by important authors on the craft of writing, edited by Charles Baxter. Each book examines a singular, but often assumed or neglected, issue facing the contemporary writer of fiction, nonfiction, or poetry. The Art of series means to restore the art of criticism while illuminating the art of writing.
Publisher: Macmillan International Higher Education
Category: Language Arts & Disciplines
This book illuminates how technique serves 'story logic,' the particular way fiction makes meaning. Writers raid the cupboard of theory looking for what works, and generic rules don't account for the rich variety of strategies they employ. For writers who are past the beginner stage, Brady offers a closer look at craft fundamentals, including plot, characterization, patterns of imagery, and style. The lively, lucid discussion draws on vivid examples from classic and contemporary fiction, ranging from George Eliot and William Faulkner to Haruki Murakami and Toni Morrison. Because it supplies the analytical tools needed to read as a writer, this text will enrich the reader's approach to any work of fiction, energizing discussion in a workshop or craft course.
New Ideas in the Writing Arts has come about because recent changes taking place in educational settings have influenced the ways in which learners and teachers are exploring Creative Writing. The worldwide growth of Creative Writing as a formal subject of study in universities and colleges has generated explorations that appear now to be at the tip of an even greater range of explorations that promise to be undertaken in coming years. When titling this book, the intention was to say that we should consider what might currently be new, what might be explored, what might be introduced to a writer who has not thought of investigating certain aspects of Creative Writing or undertaking Creative Writing in a certain way. Such freshness can often produce a development in a writer’s own work. Our 21st century development of research in Creative Writing undertaken by creative writers through writing practice and through a critical engagement with Creative Writing that begins in writing practice is already unearthing new ways of thinking about Creative Writing and new ways of undertaking it too. New Ideas in the Writing Arts presents explorations of Creative Writing fresh from explorers of Creative Writing who have incorporated into their work ideas discovered in creative practice and ideas explored critically because of creative practice. Readers will discover in the tone and trajectory of the chapters a serious engagement with how to determine current knowledge, how to confirm or challenge that knowledge, and broadly how to progress our knowledge of Creative Writing. Practical considerations prevail, and there is a clear sense in which Creative Writing is an activity, not a static thing to be examined in a fixed state and discussed as a completed object. Rather, Creative Writing in this book is a range of events and their results, a human activity that draws on many individual actions, cultural and historical contexts, and, in its undertaking, presents evidence that reflects on the knowledge and belief that informs and produces it.
Learning to write starts with learning to do one big thing: pay attention to the world around you, even though just about everything in modern life makes this more difficult than it needs to be. Developing habits and practices of observing, and writing down what you notice, can be the first step away from the anxieties and doubts that can hold you back from your ultimate goal as a writer: discovering something to say and a voice to say it in. The Writer's Eye is an inspiring guide for writers at all stages of their writing lives. Drawing on new research into creative writers and their relationship with the physical world, Amy E. Weldon shows us how to become more attentive observers of the world and find inspiration in any environment. Including exercises, writing prompts and sample texts and spanning multiple genres from novels to nonfiction to poetry, this is the ideal starting point for anyone beginning to write seriously and offers refreshing perspectives for experienced writers seeking new inspiration.
The essays in The Story About the Story Vol. II chart a trajectory that digs deep into the past and aims toward a future in which literature can play a new and more profound role in how we think, read, live, and write. In the second volume of The Story About the Story, editor J. C. Hallman continues to argue for an alternative to the staid five-paragraph-essay writing that has inoculated so many against the effects of good books. Writers have long approached writing about reading from an intensely personal perspective, incorporating their pasts and their passions into their process of interpretation. Never before collected in a single volume, the many essays Hallman has compiled build on the idea of a "creative criticism," and offers new possibilities for how to write about reading. The Story About the Story Vol. II documents not only an identifiable trend in writing about books that can and should be emulated, it also offers lessons from a remarkable range of celebrated authors that amount to an invaluable course on both how to write and how to read well. Whether they discuss a staple of the canon (Thomas Mann on Leo Tolstoy), the merits of a contemporary (Vivian Gornick on Grace Paley), a pillar of genre-writing (Jane Tompkins on Louis L’Amour), or, arguably, the funniest man on the planet (David Shields on Bill Murray), these essays are by turns poignant, smart, suggestive, intellectual, humorous, sassy, scathing, laudatory, wistful, and hopeful—and above all deeply engaged in a process of careful reading. The essays in The Story About the Story Vol. II chart a trajectory that digs deep into the past and aims toward a future in which literature can play a new and more profound role in how we think, read, live, and write.
The essays in this collection address the current preoccupation with neurological conditions and disorders in contemporary literature by British and American writers. The book places these fictional treatments within a broader cultural and historical context, exploring such topics as the two cultures debate, the neurological turn, postmodernism and the post-postmodern, and responses to September 11th. Considering a variety of materials including mainstream literary fiction, the graphic novel, popular fiction, autobiographical writing, film, and television, contributors consider the contemporary dimensions of the interface between the sciences and humanities, developing the debate about the post-postmodern as a new humanism or a return to realism and investigating questions of form and genre, and of literary continuities and discontinuities. Further, the essays discuss contemporary writers’ attempts to engage the relation between the individual and the social, looking at the relation between the "syndrome syndrome" (referring to the prevalence in contemporary literature of neurological phenomena evident at the biological level) and existing work in the field of trauma studies (where explanations tend to have taken a psychoanalytical form), allowing for perspectives that question some of the assumptions that have marked both these fields. The current literary preoccupation with neurological conditions presents us with a new and distinctive form of trauma literature, one concerned less with psychoanalysis than with the physical and evolutionary status of human beings.
Writing Fiction offers the novice writer engaging and creative activities, making use of insightful, relevant readings from well-known authors to illustrate the techniques presented. This volume makes use of new versions of key chapters from the recent Routledge/Open University textbook Creative Writing: A Workbook with Readings for writers who are specializing in fiction. Using their experience and expertise as teachers as well as authors, Linda Anderson and Derek Neale guide aspiring writers through such key aspects of writing as: how to stimulate creativity keeping a writer’s notebook character creation setting point of view structure showing and telling. The volume is further updated to include never-before published interviews with successful fiction writers Andrew Cowan, Stevie Davies, Maggie Gee, Andrew Greig, and Hanif Kureishi. Concise and practical, Writing Fiction offers an inspirational guide to the methods and techniques of authorship and is a must-read for aspiring writers.
This book focuses specifically on short fiction written since 1950, a particularly rich and diverse period in the history of the form. A selective approach has been taken, focusing on the best and most representative work.
Profiles more than four hundred authors of short fiction from around the world, presenting biographical and bibliographic information and summaries of major works. Also includes a reference volume with a chronology; a bibliography; lists of major award winners; twenty-nine essays on short-fiction history, theory, and world cultures; and three indexes.