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A playfully contrarian take on the teaching - and learning - of creative writing. "Unconventions" is a quirky and provocative miscellany that reveals Michael Martone's protean interests as a writer and a writing teacher. Martone has, shall we say, a problem with authority. His chief pleasure in knowing the rules of his vocation comes from trying out new ways to bend, blend, or otherwise defy them. The pieces gathered in "Unconventions" are drawn from a long career spent loosening the creative strictures on writing. Including articles, public addresses, essays, interviews, and even a eulogy, these writings vary greatly in form but are unified in addressing the many technical and artistic issues that face all writers, particularly those interested in experimental and nontraditional modes and forms. Martone's approach has always been to synthesize, to understand and use any technique, formula, or style available. "I find myself, then, " he writes, "self-identifying as a formalist, both and neither an experimenter and/or a traditionalist." In "I Love a Parade: An Afterword, " Martone writes about not fitting in - and loving it - as he recalls the time he marched alone in a local Labor Day parade, as a one-person delegation from the National Writers Union. Elsewhere, in writings formally, stylistically, purposely at odds with themselves, Martone's expansive curiosity is on full display. We learn about camouflage techniques, how a baby acquires language, how to "read" a WPA-era post office mural, and why Martone sold his stock in the New Yorker and reinvested his money in the company that makes Etch A Sketch. "Unconventions", then, is Martone's "Frankensteinian monster, " a kind of unruly, hybrid spawn of the mainstream writing enterprise. "Writing seems to me an intrinsic pleasure, an end in itself first, " says Martone. "The question for me is not whether my writing, or any piece of writing, is good or bad but what the writing is and what it is doing and how finally it is used or can be used by others.".
(source: Nielsen Book Data)

"Food, sex and God" is what Roberts answers when strangers ask what she writes about. In this collection the topics are extended from her fiction and poetry to essays, reviews and articles, including a monologue on would-be writers and a piece on autobiographical writing and the imagination.
(source: Nielsen Book Data)

Anyone who has ever had a fantasy about writing will find this an invaluable workbook on living and surviving as a writer, as well as a guide to mastering the tools of the trade.
(source: Nielsen Book Data)

• Why I write
• The lion and the unicorn
• A hanging
• Politics and the English language.

On the Authorship Controversy is about how a historical deception has survived as a tradition for nearly 400 years, despite numerous challenges - this is, of course, referring to the `tradition' that the works attributed to William Shakespeare of Stratford-on-Avon were actually written by him, despite no evidence of schooling or access to libraries, lack of recognition by other playwrights when he died, and much more. The editors of the definitive decennial edition of his works, together with virtually all other scholars of English Literature, have declared that this rural fellow is the true author. This book offers irrefutable mathematical evidence that Christopher Marlowe - graduate of Cambridge University, the inventor of iambic pentameter, and the author of seven important plays before `Shakespeare' had ever been heard of - did not die in late May 1593, as officially reported by the Queen's Coroner. How do we know that Marlowe was alive and the author of the sonnets? He announced his authorship in ciphers that are clear and unmistakable once you find the key. The key was found by an independent scholar named Peter Bull in 2005. He self-published his findings because the mainstream publishers were not interested, and very few people bothered to read his work. Ayres did, and has now undertaken to make his discovery a little more accessible to the general reader.
(source: Nielsen Book Data)

In this third Why I Write volume, Eileen Myles addresses the social, political, and aesthetic conditions that shape their work "A sharply etched, unvarnished self-portrait."-Kirkus Reviews "[Myles] has a good time journeying through Hell, and like a hip Virgil, . . . is happy to show us the way."-NPR In this raucous meditation, Eileen Myles offers an intimate glimpse into creativity's immediacy. With erudition and wit, Myles recounts their early years as an awakening writer; existential struggles with landlords; storied moments with neighbors, friends, and lovers; and the textures and identities of cities and the country that reveal the nature of writing as presence in time. For Myles, time's "optic quality" is what enables writing in the first place-as attention, as devotion, as excess. It is this chronologized vision that enables the writer to love the world as it presently is, lending love a linguistic permanence amid social and political systems that threaten to eradicate it. Irreverent, generous, and always insightful, For Now is a candid record of the creative process from one of our most beloved artists.
(source: Nielsen Book Data)

• Teachers
• Imitation
• Five texts
• True or false
• Strategies in prose
• Originality
• More matter
• Students
• Addenda, Corrigenda

Drawing lessons from writers of all ages and writing across genres, a distinguished teacher and writer reveals the enduring importance of writing for our time In this new contribution to Yale University Press's Why X Matters series, a distinguished writer and scholar tackles central questions of the discipline of writing. Drawing on his own experience with such mentors as John Updike, John Gardner, and James Baldwin, and in turn having taught such rising stars as Jesmyn Ward, Delbanco looks in particular at questions of influence and the contradictory, simultaneous impulses toward imitation and originality. Part memoir, part literary history, and part analysis, this unique text will resonate with students, writers, writing teachers, and bibliophiles.
(source: Nielsen Book Data)

• Teachers
• Imitation
• Five texts
• True or false
• Strategies in prose
• Originality
• More matter
• Students
• Addenda, Corrigenda

Drawing lessons from writers of all ages and writing across genres, a distinguished teacher and writer reveals the enduring importance of writing for our time In this new contribution to Yale University Press's Why X Matters series, a distinguished writer and scholar tackles central questions of the discipline of writing. Drawing on his own experience with such mentors as John Updike, John Gardner, and James Baldwin, and in turn having taught such rising stars as Jesmyn Ward, Delbanco looks in particular at questions of influence and the contradictory, simultaneous impulses toward imitation and originality. Part memoir, part literary history, and part analysis, this unique text will resonate with students, writers, writing teachers, and bibliophiles.
(source: Nielsen Book Data)

Writing begins with unconscious feelings of something that insistently demands to be responded to, acted upon, or elaborated into a new entity. Writers make things that matter-treaties, new species, software, and letters to the editor-as they interact with other humans of all kinds. As they write, they also continually remake themselves. In The Animal Who Writes, Cooper considers writing as a social practice and as an embodied behavior that is particularly important to human animals. The author argues that writing is an act of composing enmeshed in nature-cultures and is homologous with technology as a mode of making.
(source: Nielsen Book Data)

• 1. Introduction Ingo Berensmeyer, Gert Buelens and Marysa Demoor-- Part I. Historical Perspectives:
• 2. Authorship in cuneiform literature Benjamin R. Foster--
• 3. Authorship in Ancient Egypt Antonio Loprieno--
• 4. Authorship in Archaic and Classical Greece Ruth Scodel--
• 5. Authorship in Classical Rome Christian Badura and Melanie Moeller--
• 6. Conceptions of authorship in early Jewish cultures Mordechai Z. Cohen--
• 7. Modes of authorship and the making of Medieval English literature A. B. Kraebel--
• 8. Manuscript and print cultures 1500-1700 Margaret J. M. Ezell--
• 9. The eighteenth century: print, professionalization, and defining the author Betty A. Schellenberg--
• 10. The nineteenth century: intellectual property rights and 'literary larceny' Alexis Easley--
• 11. Industrialized print: modernism and authorship Sean Latham--
• 12. Postmodernist authorship Hans Bertens--
• 13. Chinese authorship Kang-i Sun Chang--
• 14. Literary authorship in the digital age Adriaan van der Weel-- Part II. Systematic Perspectives:
• 15. Literary authorship in the traditions of rhetoric and poetics Kevin Dunn--
• 16. Authors, genres, and audiences: a rhetorical approach James Phelan--
• 17. The author in literary theory and theories of literature Jakob Stougaard-Nielsen--
• 18. Gender, sexuality, and the author: five phases of authorship from the Renaissance to the twenty-first century Chantal Zabus--
• 19. Postcolonial and Indigenous authorship Mita Banerjee-- Part III. Practical Perspectives:
• 20. Attribution John Burrows and Hugh Craig--
• 21. Anonymity and pseudonymity Robert J. Griffin--
• 22. Plagiarism and forgery Jack Lynch--
• 23. Authorship and scholarly editing Dirk Van Hulle--
• 24. Copyright and literary property: the invention of secondary authorship Daniel Cook--
• 25. Censorship Trevor Ross--
• 26. Publishing and marketing Andrew King--
• 27. Institutions: writing and reading Jason Puskar.
• (source: Nielsen Book Data)

This Handbook surveys the state of the art in literary authorship studies. Its 27 original contributions by eminent scholars offer a multi-layered account of authorship as a defining element of literature and culture. Covering a vast chronological range, Part I considers the history of authorship from cuneiform writing to contemporary digital publishing; it discusses authorship in ancient Egypt, Greece, Rome, early Jewish cultures, medieval, Renaissance, modern, postmodern and Chinese literature. The second part focuses on the place of authorship in literary theory, and on challenges to theorizing literary authorship, such as gender and sexuality, postcolonial and indigenous contexts for writing. Finally, Part III investigates practical perspectives on the topic, with a focus on attribution, anonymity and pseudonymity, plagiarism and forgery, copyright and literary property, censorship, publishing and marketing and institutional contexts.
(source: Nielsen Book Data)

• partie I. Entre champs, interstices et temps
• partie II. Se baguenauder ou la markinégraphie
• partie III. A point of view
• partie IV. De la posthumologie ou de l'utilité sociale de la reconnaissance
• partie V. Un cadran et trois aiguilles.

'What a lovely thing this is: a book that delights in the sheer textural joy of good sentences ... Any writer should read it' Bee Wilson 'Thoughtful, engaging, and lively ... when you've read it, you realise you've changed your attitude to writing (and reading)' John Simpson, formerly Chief Editor of the OED and author of The Word Detective The sentence is the common ground where every writer walks. A poet writes in sentences, but so does the unsung author who came up with Items trapped in doors cause delays. A good sentence can be written (and read) by anyone if we simply give it the gift of our time, and it is as close as most of us will get to making something truly beautiful. Enter acclaimed author Professor Joe Moran. Using minimal technical terms, First You Write a Sentence is his unpedantic but authoritative explanation of how the most ordinary words can be turned into verbal constellations of extraordinary grace. Using sources ranging from the Bible and Shakespeare to George Orwell and Maggie Nelson, and scientific studies of what can best fire the reader's mind, he shows how we can all write in a way that is clear, compelling and alive. Whether dealing with finding the ideal word, building a sentence or constructing a paragraph, First You Write a Sentence informs by light example: much richer than a style guide, it can be read not just for instruction but for pleasure and delight. And along the way it shows how good writing can help us notice the world, make ourselves known to others and live more meaningful lives. It's an elegant gem in praise of the English sentence. 'Moran is a past master at producing fine, accessible non-fiction' Helen Davies, Sunday Times 'Joe Moran has a genius for turning the prosaic poetic' Peter Hennessy.
(source: Nielsen Book Data)

• Manifesto
• Upon the Mathematics of the Breath and the Way
• Tales
• A Dollar for Carl Larsen
• Hell Yes, The Hydrogen Bomb (1958)
• Dialogue: Dead Man on the Fence
• Bio from Long Shot Poems for Broke Players
• Bukowski Meets a Merry Drunk (NOADOM, LA Free Press, March 17, 1967)
• Notes of a DOM (National Underground Review, Aug 2-8, 1968
• Open City, "Bukowski's Gossip Column"
• More Notes of a DOM (Candid Press, Nov 29, 1970)
• Candid Press, "More Notes of a Dirty Old Man" Dec. 13, 1970
• More Notes of a DOM (Candid Press, Dec 20, 1970)
• Notes of a DOM (Nola Express 96, Tony Kinnard 1971)
• 1972 April 14, "Notes of a Dirty Old Man, " LAFP
• June 23, 1972, NOADOM, LAFP
• Notes of A Dirty Old Man, Open City, November 3-16, 1972
• Notes of a Dirty Old Man (Nola December 8-21, 1972)
• Narrative Account of Career/Guggenheim 1974
• NOADOM LAFP, May 17
• Notes of a DOM (July 12, 1974)
• Notes of a DOM (LA Free Press, Aug 16, 1974)
• Notes of a DOM (Nov 22, 1974)
• LAFP, April 11, 1975, NOADOM
• Notes of a DOM (LA Free Press, June 13-19, 1975)
• NOADOM, LAFP, Feb 13-19, 1976/Feb. 20, 1976
• Politics and Love
• Dildo Man
• Introductions and Criticism
• "Editors (and others) Write, " Trace 36, March/April 1960
• Little Magazines in America
• Introduction to John William Corrington, Mr. Clean, 1964
• The Corybant of Wit (Irving Layton)
• Introduction to Jory Sherman
• Review of John William Corrington
• Another Burial of a Once Talent (John William Corrington)
• Foreword to Steve Richmond
• Essay on Nothing for Your Mother Nothingness
• Who's Big in the Littles
• "The Deliberate Mashing of the Sun" da levy
• "Charles Bukowski on Willie", Introduction to The Cockroach Hotel by Willie [William Hageman]
• Introduction to Doug Blazek's Skull Juices
• The Impotence of Being Ernest: Review of Hemingway's Islands in the Stream
• An Introduction to These Poems (Al Masarik)
• "Foreword, " Steve Richmond Earth Rose, 1974
• "A Note on These Poems, "
• 1976: "Appreciation" to Al Purdy's At Marsport Drugstore
• "About Aftermath, " 1983
• "Preface", The Bukowski/Purdy Letters 1964-1974
• Introduction to Horsemeat
• Douglas Goodwin Intro
• 1988 Foreword to MacDonald Carey Beyond That Further Hill
• "Further Musings, " Half-Truth, Nov./Dec.
• Interviews
• Stonecloud Interview
• Berkeley Barb Interview
• New York Quarterly, 27, Summer 1985, William Packard, Craft Interview
• "Gin-Soaked Boy" Film Comment, Vol 23, No. 4, July/August 1987
• Lizard Eyelid's Interview with Charles Bukowski.
• (source: Nielsen Book Data)

"Genius could be the ability to say a profound thing in a simple way, or even to say a simple thing in a simpler way."--Charles Bukowski In The Mathematics of the Breath and the Way, Charles Bukowski considers the art of writing, and the art of living as a writer. Bringing together a variety of previously uncollected stories, columns, reviews, introductions, and interviews, this book finds him approaching the dynamics of his chosen profession with cynical aplomb, deflating pretensions and tearing down idols armed with only a typewriter and a bottle of beer. Beginning with the title piece--a serious manifesto disguised as off-handed remarks en route to the racetrack--The Mathematics of the Breath and the Way runs through numerous tales following the author's adventures at poetry readings, parties, film sets, and bars, and also features an unprecedented gathering of Bukowski's singular literary criticism. From classic authors like Hemingway to underground legends like d.a. levy to his own stable of obscure favorites, Bukowski uses each occasion to expound on the larger issues around literary production. The book closes with a handful of interviews in which he discusses his writing practices and his influences, making this a perfect guide to the man behind the myth and the disciplined artist behind the boozing brawler.
(source: Nielsen Book Data)