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    Put simply, this group, which was founded in Paris in 1960, approaches creative writing in a way that still has yet to make its impact in the United States and its creative writing programs. Rather than inspiration, rather than experience, rather than self-expression, the Oulipians viewed imaginative writing as an exercise dominated by what they called "constraints." Quite commonly, they would attempt to write stories, for instance, in which strict rules had to be imposed and followed (for example, Georges Perec's notorious novel A Void, which was written without the use of the letter "e"). While a major contribution to literary theory, Oulipo is perhaps most distinguished as an indispensable guide to writers. "This reader is truly impressed by Motte's capacity to present, in a clear fashion, material that is still new and 'difficult' to most of his readership." (Jean-Jacques Thomas, South Atlantic Review 5-88)

    Rathbun told Times reporters the story of his years in Scientology and what led to his leaving. That resulted in interviews with scores of other people in the Scientology world, including former staffers, disaffected parishioners and current church members.Thus began the Times' ongoing series, "Inside Scientology," which launched with an installment called "The Truth Rundown," published in June of 2009. That initial work — the focus of this book — shed unprecedented light on the internal workings of a secretive church that generates interest around the world.

    S. Lewis published The Lion, the Witch and the Wardrobe he created one of Christendom's most cherished allegories. Viewers of the movie, as well as readers of the book will come away deeply moved by what they have encountered in Narnia.They will have countless questions such as: How did the Witch take over Narnia? Why couldn't Edmund resist temptation? Why did the Lion have to die? And they will find the answers in this wonderful book written for Christians and non-Christians alike.

    It engages directly with the difficulty many students find intimidating, asking 'What is ''Literary Theory''?' and offering a clear, concise, accessible guide to the major theories and theorists, including: humanism; structuralism; poststructuralism; psychoanalytic approaches; feminist approaches; queer theory; ideology and discourse; new historicism; race and postcolonialism; postmodernism. The final chapter points to new directions in literary and cultural theory.

    When Sigmund Freud awakened modern interest in the dream a century ago, his theory of interpretation undermined the potential insights dreams had to offer. For Freud, dreams were little more than fragmented puzzle parts made up of events from our waking lives. Most of us today still live under Freud's far-reaching influence. When we wake up after experiencing a powerful series of images, we too readily explain them away or simply ignore them all together. Whatever emotion or insight the dream evokes slowly fades. But what if Freud was wrong? Unless we challenge his deeply-ingrained assumptions, we will forever lose the gift of our dreams.International bestselling author Rodger Kamenetz believes it is not too late to reclaim the lost power of our nightly visions. Kamenetz's exploration of the world of dreams reopens all the questions scientists and psychologists claimed to have settled long ago. The culmination of decades of research, The History of Last Night's Dream is a riveting intellectual and cultural investigation of dreams and what they have to teach us. We discover how the age-old struggle between what we dream and how we interpret our dreams has shaped Western culture from biblical times to today. Kamenetz introduces us to an eighty-seven-year-old female kabbalist in Jerusalem, a suave Tibetan Buddhist dream teacher in Copenhagen, and a crusty intuitive postman-turned-dream master in northern Vermont. He fearlessly delves into this mysterious inner realm and shows us that dreams are not only intensely meaningful but that they hold essential truths about who we are. In the end, each of us has the choice to embark on this illuminating path to the soul. But one thing is certain: our dreams will never be the same again.

    Sidney argues with wit and irony that poetry is the art which best teaches what is good and true.

    In this volume of selected prose, Roethke articulates his commitments to imaginative possibilities, offers tender advice to young writers, and zings darts at stuffed shirts, lightweights and fools."Art is our defense against hysteria and death."With the assistance of Roethke's widow, this volume has been edited to include the finest selections from out of print collections of prose and journal entries. Focused on the making and teaching of poetry,On Poetry and Craft will be prized in the classroom-and outrageous Roethke quotes will once again pepper our conversations."You must believe a poem is a holy thing, a good poem, that is."Theodore Roethke was of an illustrious generation of poets which included Sexton, Plath, Lowell, Berryman, and like them he received nearly every major award in poetry, including the Pulitzer Prize and twice the National Book Award. In spite of his fame, he remained a legendary teacher, known for the care and attention he gave to his students, poets such as James Wright, Carolyn Kizer, Tess Gallagher, and Richard Hugo. Roethke died on August 1, 1963, while swimming in a friend's pool."But before I'm reduced to an absolute pulp by my own ambivalence, I must say goodbye. The old lion perisheth. Nymphs, I wish you the swoops of many fish. May your search for the abiding be forever furious."On Poetry and CraftI am overwhelmed by the beautiful disorder of poetry, the eternal virginity of words.The poem, even a short time after being written, seems no miracle; unwritten, it seems something beyond the capacity of the gods.We can't escape what we are, and I'm afraid many of my notions about verse (I haven't too many) have been conditioned by the fact that for nearly 25 years I've been trying to teach the young something about the nature of verse by writing it--and that with very little formal knowledge of the subject or previous instruction. So it's going to be lik

    Drout submerses listeners in poetry's past, present, and future, addressing such poets as Milton, Wordsworth, Shelley, and Keats, and explaining in simple terms what poetry is while following its development through the centuries.

    Lewis' The Chronicles of Narnia. Enchanted by its fantastic world as a child, prominent critic Laura Miller returns to the series as an adult to uncover the source of these small books' mysterious power by looking at their creator, Clive Staples Lewis. What she discovers is not the familiar, idealized image of the author, but a more interesting and ambiguous truth: Lewis's tragic and troubled childhood, his unconventional love life, and his intense but ultimately doomed friendship with J.R.R. Tolkien.Finally reclaiming Narnia "for the rest of us," Miller casts the Chronicles as a profoundly literary creation, and the portal to a life-long adventure in books, art, and the imagination.

    Sol is a dynamic teacher, and in these essays, he has captured the humor and engaging intelligence for which he is known in the classroom. With a breezy style, Sol delivers essays that are perfect for a quick read or to be grouped together as a curriculum.Though How a Poem Moves is not a textbook, it demonstrates poetry's range and pleasures through encounters with individual poems that span traditions, techniques, and ambitions. This illuminating book is for readers who are afraid they "don't get" poetry, but who believe that, with a welcoming guide, they might conquer their fear and cultivate a new appreciation.

    + XXXVIII) ranges from Gorgias and Plato to Sigmund Freud and Mikhail Bakhtin. Each of the 147 contributions has a headnote introducing the writer and making connections to other critics, theorists and movements. An introduction surveys the history of theory and criticism.

    Culture is a garden to be cultivated."Many bemoan the decay of culture. But we all have a responsibility to care for culture, to nurture it in ways that help people thrive. In Culture Care artist Makoto Fujimura issues a call to cultural stewardship, in which we become generative and feed our culture's soul with beauty, creativity, and generosity. We serve others as cultural custodians of the future.This is a book for artists, but artists come in many forms. Anyone with a calling to create—from visual artists, musicians, writers, and actors to entrepreneurs, pastors, and business professionals—will resonate with its message. This book is for anyone with a desire or an artistic gift to reach across boundaries with understanding, reconciliation, and healing. It is a book for anyone with a passion for the arts, for supporters of the arts, and for "creative catalysts" who understand how much the culture we all share affects human thriving today and shapes the generations to come.

    Out of a wounding sense of alienation and dividedness he created a profoundly original symbolic language, in which words and images unite in a unique interpretation of self and society. He was a counterculture prophet whose art still challenges us to think afresh about almost every aspect of experience—social, political, philosophical, religious, erotic, and aesthetic. He believed that we live in the midst of Eternity here and now, and that if we could open our consciousness to the fullness of being, it would be like experiencing a sunrise that never ends.   Following Blake’s life from beginning to end, acclaimed biographer Leo Damrosch draws extensively on Blake’s poems, his paintings, and his etchings and engravings to offer this generously illustrated account of Blake the man and his vision of our world. The author's goal is to inspire the reader with the passion he has for his subject, achieving the imaginative response that Blake himself sought to excite. The book is an invitation to understanding and enjoyment, an invitation to appreciate Blake’s imaginative world and, in so doing, to open the doors of our perception.

    Calling poets away from civilization, back towards the wilderness, Lasky brazenly urges artists away from conceptual programs, resurrecting imagination and faith-in-the-uncertain as saviors from mediocrity.