This selection of his writings on religion, ethics, politics, women and many other themes is taken from Schopenhauer's last work, Parerga and Paralipomena, which he published in 1851. He depicts humanity as locked in a struggle beyond good and evil, each individual absolutely free within a Godless world in which art, morality and self-awareness are our only salvation. This innovative and pessimistic view proved powerfully influential upon philosophy and art, affecting the work of Nietzsche and Wittgenstein among others.

    Yet the corporatisation of the contemporary university has sped up the clock, demanding increased speed and efficiency from faculty regardless of the consequences for education and scholarship.In The Slow Professor, Maggie Berg and Barbara K. Seeber discuss how adopting the principles of the Slow movement in academic life can counter this erosion of humanistic education. Focusing on the individual faculty member and his or her own professional practice, Berg and Seeber present both an analysis of the culture of speed in the academy and ways of alleviating stress while improving teaching, research, and collegiality. The Slow Professor will be a must-read for anyone in academia concerned about the frantic pace of contemporary university life.

    Based on the author's 40 years of teaching experience and extensive publication, this time-tested, hands-on introduction to poetry, fiction, and drama writing addresses the dynamics of the creative process while providing a non-technical analysis of each genre.

    In entries alternating between the first and second semester of her eighth-grade year, she navigates joy and grief, gain and loss, hope and depression.How can Taylor pick up the pieces of what used to be her social life? How can her house ever feel like home again after everything that's happened? And how can she move forward if she can't stop looking back?An Imprint Book

    Nobody gets tapped with a magic wand and suddenly has the ability to produce art, music, photos, films, or writing—they just do it. And you probably should too. Make It Till You Make It breaks down 40 myths and truths about the pursuit of creative expression, whether you want to make $0 a year doing your thing or $100,000 a year.

    Carol Shields's award-winning and critically acclaimed "literary mystery," first published in 1987.Swann is the story of four individuals who become entwined in the life of Mary Swann, a rural Canadian poet whose authentic and unique voice is discovered only hours before her husband hacks her to pieces.Who is Mary Swann? And how could she have produced these works of genius in almost complete isolation? Mysteriously, all traces of Swann's existence — her notebook, the first draft of her work, even her photograph — gradually vanish as the characters in this engrossing novel become caught up in their own concepts of who Mary Swann was.

    No matter what type of information or help you need--guidelines, samples, rules, or friendly advice--you'll find it in this handbook.Writers INC is also a multipurpose reference book with full-color maps, useful tables and charts, computer and Internet terms, and a historical time line. Any student interest in writing and learning should have a copy of Writers INC.

    Brimming with simple-to-follow techniques, rituals, and exercises for accomplishing day-to-day tasks and making progress on bigger goals, Big Dreams, Daily Joys offers tips on how-to organize a productive day, overcome the urge to procrastinate, make space for creativity, and achieve a healthy work-life balance. For anyone who is tackling a creative project, running their own business, or simply trying to manage time more efficiently, this is the ultimate handbook to getting things done with clarity, joy, and positivity.

    Rather than believing they have to start with a big idea or plan a whole project out in advance, trying to foresee the final outcome, they make a series of little bets about what might be a good direction, learning from lots of little failures and from small but highly significant wins that allow them to happen upon unexpected avenues and arrive at extraordinary outcomes.           Based on deep and extensive research, including more than 200 interviews with leading innovators, Sims discovered that productive, creative thinkers and doers—from Ludwig van Beethoven to Thomas Edison and Amazon’s Jeff Bezos—practice a key set of simple but ingenious experimental methods—such as failing quickly to learn fast, tapping into the genius of play, and engaging in highly immersed observation—that free their minds, opening them up to making unexpected connections and perceiving invaluable insights. These methods also unshackle them from the constraints of overly analytical thinking and linear problem solving that our education places so much emphasis on, as well as from the fear of failure, all of which thwart so many of us in trying to be more innovative.               Reporting on a fascinating range of research, from the psychology of creative blocks to the influential Silicon Valley–based field of design thinking, Sims offers engaging and wonderfully illuminating accounts of breakthrough innovators at work, including how Hewlett-Packard stumbled onto the breakaway success of the first hand-held calculator; the remarkable storyboarding process at Pixar films that has been the key to their unbroken streak of box office successes; the playful discovery process by which Frank Gehry arrived at his critically acclaimed design for Disney Hall; the aha revelation that led Amazon to pursue its wildly successful affiliates program; and the U.S. Army’s ingenious approach to counterinsurgency operations that led to the dramatic turnaround in Iraq.               Fast paced and as entertaining as it is illuminating, Little Bets offers a whole new way of thinking about how to break away from the narrow strictures of the methods of analyzing and problem solving we were all taught in school and unleash our untapped creative powers.

    Everyone working in words or other media needs to read this important new reference, and to keep it nearby while they're working.This guide features:Twenty-two succinct style principles. Advice on culturally appropriate publishing practices, including how to collaborate with Indigenous Peoples, when and how to seek the advice of Elders, and how to respect Indigenous Oral Traditions and Traditional Knowledge. Terminology to use and to avoid. Advice on specific editing issues, such as biased language, capitalization, and quoting from historical sources and archives. Case studies of projects that illustrate best practices.

    This includes how to write compelling reviews, how to pitch yourself as a writer, how to tackle some tricky ethical quandaries, and yes, even how to get free games. Based on Dan Amrich’s own experience as a game journalist for more than 15 years, it’s advice that can serve you for your entire career, from press start to game over.

    Since then I have had three best sellers in the short romance category and am now making over $1,000 a month. I went from making $10.64 for January (my first month) to making $1297.72 for March (my third month). I am projected, by looking at sales, to make $1800+ for April (my fourth month). This book is a tell-all of exactly what I did and how I did it. This is a short book. I guarantee there is no fluff here. I get straight to the point and tell you exactly what I did. I truly want to help you become a bestselling author and help you make money writing books. Please, I encourage you to follow the steps outlined in this book. Happy Writing! #1 bestselling short romance author Hope Ford writes short, steamy, sweet romances. There is always an alpha male (because who doesn’t love an alpha male) and a woman he makes his queen. Sit back, grab a glass of wine, and get lost in this happily ever after story – that’s also a little naughty.

     The research (conducted by the Center for the Study of Intent) uncovered a new dimension of human development and has revolutionized the way personal growth, meaning, happiness, and ultimately advanced spiritual topics such as ‘enlightenment’ are understood. The results, if you let them, will transform the quality of your life in ways you currently cannot even imagine as possible. During the research a formula was uncovered that is so effective at producing what seems like miracles in people’s lives it began to be referred to as the “God Formula” among participants and researchers. This book outlines that formula, and is the final version of the highly successful training material that was used with research participants. These researchers became the first scientists to successfully experiment with this new developmental continuum. The result has been the discovery of a series of techniques that lead from everyday consciousness to increased daily happiness and satisfaction, and finally to enlightenment and beyond (yes, there is a beyond!). This book covers the first stages of this process. You can view a summary of the results from the research phase that related to it, and later ones at: CenterForIntent.org/freedom. This book covers three primary components that combine to form a complete system of person growth, and an assortment of techniques for each component. While it provides the components, how they need to come together for maximum effectiveness will be unique to you. You’ll need to experiment with various combinations of these techniques until you find the one that works best for you. This may sound unusual. You’re probably used to reading books where the authors assert they have the one answer for everyone. The researchers at the Center tested an enormous number of techniques but didn’t find a single one that was helpful to more than a handful of individuals…when it was beneficial for anyone at all. However, they learned that there are a relatively small number of techniques that can be combined in ways that are incredibly effective. You just have to find the unique combination of these techniques that works for you right now. This book provides the distilled down wisdom from all of that testing. They were able to successfully identify core components from the methods that proved themselves. However, no one can tell you how to combine those components to get them to work best for you. People are simply too different for that to be possible. So, you’ll have to join the team, be your own scientist, and experiment! The good news is that the researchers spent an enormous amount of time and money narrowing down the possibilities for you. Most of the research participants were able to use this book to find the combination that worked for them quite quickly. It is likely the same will be true for you.It’s important that you not take the information this book contains lightly. Unlike other personal growth and self help books, this one is driven by a vast amount of actual research into what works. It was revised continually based on research participant feedback, so it’s very simple and easy to understand and use. But don’t let this simplicity fool you. Every line is there for a reason. This material has changed a lot of lives, if you’ll let it…yours can be next.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    Organized alphabetically, coverage extends from the arts to economics, history, linguistics, philosophy, psychology, sociology and on through the hard sciences. Ancient and modern, accepted and discredited, all theories which have relevance in today's world are included. The depth of the terms varies from undergraduate level to the more populist, with theories such as Parkinson's Law and the Peter Principle included.