"Richard Hugo's free-swinging, go-for-it remarks on poetry and the teaching of poetry are exactly what are needed in classrooms and in the world."—James Dickey Richard Hugo was that rare phenomenon of American letters—a distinguished poet who was also an inspiring teacher. The Triggering Town is Hugo's now-classic collection of lectures, essays, and reflections, all "directed toward helping with that silly, absurd, maddening, futile, enormously rewarding activity: writing poems." Anyone, from the beginning poet to the mature writer to the lover of literature, will benefit greatly from Hugo's sayd, playful, profound insights and advice concerning the mysteries of literary creation.
Creative Writing is a complete writing course that will jump-start your writing and guide you through your first steps towards publication. Suitable for use by students, tutors, writers’ groups or writers working alone, this book offers: a practical and inspiring section on the creative process, showing you how to stimulate your creativity and use your memory and experience in inventive ways in-depth coverage of the most popular forms of writing, in extended sections on fiction, poetry and life writing, including biography and autobiography, giving you practice in all three forms so that you might discover and develop your particular strengths a sensible, up-to-date guide to going public, to help you to edit your work to a professional standard and to identify and approach suitable publishers a distinctive collection of exciting exercises, spread throughout the workbook to spark your imagination and increase your technical flexibility and control a substantial array of illuminating readings, bringing together extracts from contemporary and classic writings in order to demonstrate a range of techniques that you can use or adapt in your own work. Creative Writing: A Workbook with Readings presents a unique opportunity to benefit from the advice and experience of a team of published authors who have also taught successful writing courses at a wide range of institutions, helping large numbers of new writers to develop their talents as well as their abilities to evaluate and polish their work to professional standards. These institutions include Lancaster University and the University of East Anglia, renowned as consistent producers of published writers.
The Pacific Northwest—for the purposes of this book mostly Oregon and Washington—has sometimes been seen as lacking significant cultural history. Home to idyllic environmental wonders, the region has been plagued by the notion that the best and brightest often left in search of greater things, that the mainstream world was thousands of miles away—or at least as far south as California. This book describes the Pacific Northwest’s search for a regional identity from the first Indian-European contacts through the late twentieth century, identifying those individuals and groups “who at least struggled to give meaning to the Northwest experience.” It places particular emphasis on writers and other celebrated individuals in the arts, detailing how their lives and works both reflected the region and also enhanced its sense of self.
Each letter is written from a specific place that Hugo has made his own (a "triggering town," as he has called it elsewhere) to a friend, a fellow poet, an old love. We read over the poet's shoulder as the town triggers the imagination, the friendship is re-opened, the poet's selfhood is explored and illuminated. The "dreams" turn up unexpectedly (as dreams do) among the letters; their haunting images give further depth to the poet's exploration. Are we overhearing them? Who is the "you" that dreams?
This wide-ranging collection of essays addresses a diverse and expanded vision of Montana literature, offering new readings of both canonical and overlooked texts. Although a handful of Montana writers such as Richard Hugo, A. B. Guthrie Jr., D'Arcy McNickle, and James Welch have received considerable critical attention, sizable gaps remain in the analysis of the state's ever-growing and ever-evolving canon. The twelve essays in "All Our Stories Are Here" not only build on the exemplary, foundational work of other writers but also open further interpretative and critical conversations. Expanding on the critical paradigms of the past and bringing to bear some of the latest developments in literary and cultural studies, the contributors engage issues such as queer ambivalence in Montana writing, representations of the state in popular romances, and the importance of the University of Montana's creative writing program in fostering the state's literary corpus. The contributors also explore the work of writers who have not yet received their critical due, take new looks at old friends, and offer some of the first explorations of recent works by well-established artists. "All Our Stories Are Here" conveys a sense of continuity in the field of Western literary criticism, while at the same time challenging conventional approaches to regional literature.
For more than a quarter of a century, Pat Schneider has helped writers find and liberate their true voices. She has taught all kinds--the award winning, the struggling, and those who have been silenced by poverty and hardship. Her innovative methods have worked in classrooms from elementary to graduate level, in jail cells and public housing projects, in convents and seminaries, in youth at-risk programs, and with groups of the terminally ill. Now, in Writing Alone and with Others, Schneider's acclaimed methods are available in a single, well-organized, and highly readable volume. The first part of the book guides the reader through the perils of the solitary writing life: fear, writer's block, and the bad habits of the internal critic. In the second section, Schneider describes the Amherst Writers and Artists workshop method, widely used across the U.S. and abroad. Chapters on fiction and poetry address matters of technique and point to further resources, while more than a hundred writing exercises offer specific ways to jumpstart the blocked and stretch the rut-stuck. Schneider's innovative teaching method will refresh the experienced writer and encourage the beginner. Her book is the essential owner's manual for the writer's voice.
Seattle, with its spectacular natural beauty and rough frontier history, has inspired writers from its earliest days. This anthology spans seven decades and includes fiction, memoirs, histories, and journalism that define the city or use it as a setting, imparting the flavor of the city through a literary prism. Reading Seattle features classics by Horace R. Cayton, Richard Hugo, Betty MacDonald, Mary McCarthy, Murray Morgan, and John Okada as well as more recent works by Sherman Alexie, Lynda Barry, David Guterson, J. A. Jance, Jonathan Raban, and others. It includes cutting-edge work by emerging talents and reintroduces works by important Seattle writers who may have been overlooked in recent years. The writers featured in this volume explore a variety of neighborhoods and districts within the city, delineating urban spaces and painting memorable portraits of characters both historical and fictional.
Key Issues in Creative Writing explores a range of important issues that inform the practice and understanding of creative writing. The collection considers creative writing learning and teaching as well as creative writing research. Contributors target debates that arise because of the nature of creative writing. These experts – from the UK, USA and Australia – specifically examine creative writing as a subject in universities and colleges and discuss both the creative knowledge and the critical understanding informing the subject and its future. Finally, this volume suggests ways in which addressing current issues will produce significant disciplinary knowledge that will contribute to the success of creative writing in current and future academic environments.
Teaching Writing Creatively represents a challenge to conventional notions of genre. It seeks to break down the artificial, antiquated barriers between "creative" and "academic" writing, making the writing classroom experience a more imaginative one. Teaching Writing Creatively features many of the most respected names in composition-instructors with long, successful histories of providing teachers with functional yet inventive methods of teaching writing. The collection begins with articles that assert that all good writing must be, in some important sense, "creative." These contributors offer accounts of the transformation of their composition classrooms; essays that demonstrate that good student writing is only marginally about genre; and a critique of the creative writing workshop as a model for the composition class. Part II offers a variety of ways to approach the teaching of writing as a creative endeavor. It includes articles on helping students better understand their own writing processes and suggestions on alternative composing strategies and their classroom applications. The contributors to the final section offer a variety of new approaches to creative writing that can be successfully applied to expository writing courses as well. Student-centered and process-oriented, Teaching Writing Creatively is a book writing instructors will find immediately useful-particularly composition instructors who feel hemmed in by the conventional expectations of writing courses and creative writing instructors looking to take advantage of the latest innovations in composition studies.