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)

    Corbett

    But most recent editors attribute it to an unknown author.The Greek art of rhetoric was first naturalized at Rome in the time of the younger Scipio, and Latin treatises on the subject were in circulation from the time of the Gracchi. But the books by Cato, Antonius, and the other Roman writers have not come down to us, and it is from the second decade of the first century B.C. that we have, in the treatise addressed to Gaius Herennius, the oldest Latin Art preserved entire. Like Cicero's incomplete De Inventione, which belongs close to it in time, this work reflects Hellenistic rhetorical teaching. Our author, however, gives us a Greek art in Latin dress, combining a Roman spirit with Greek doctrine. It is a technical manual, systematic and formal in arrangement; its exposition is bald, but in greatest part clear and precise. Indeed the writer's specific aims are to achieve clarity and conciseness, and to complete the exposition of his subject with reasonable speed. He seeks clarity through the use of Roman terms, and of specially selected examples; he seeks conciseness by keeping practical needs always in view, by scrupulously avoiding irrelevant matter, and by presenting methods and principles, not a host of particular illustrations of a given point.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    Schoenbaum, New York Times Book Review“The most accessible and sheerly enjoyable of [Frye’s] books….The effect is that of listening to a fluent, genial conversationalist who loves Shakespeare and unabashedly celebrates him in that high aspect of criticism well called ‘appreciation.’”—Edmund Fuller, Wall Street Journal“A boon to both Shakespearean scholars and readers dipping into the Bard’s work for the first time. … Written with verve, erudition and more-than-occasional humor, this ‘summing-up’ of 50 years of scholarship will be read with pleasure, profit and gratitude by drama lovers for years to come.”—Kirkus ReviewsNorthrop Frye, professor of English, has been on the faculty of the University of Toronto for almost fifty years.  He is the author of numerous books, including the seminal work Anatomy of Criticism

    The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

    It is a book for everybody who wants to learn how to write or who needs to do some writing to get through the day, as almost everybody does in the age of e-mail and the Internet. Whether you want to write about people or places, science and technology, business, sports, the arts or about yourself in the increasingly popular memoir genre, On Writing Well offers you fundamental priciples as well as the insights of a distinguished writer and teacher. With more than a million copies sold, this volume has stood the test of time and remains a valuable resource for writers and would-be writers.

    Using a wealth of examples, from ancient myths and folk tales via the plays and novels of great literature to the popular movies and TV soap operas of today, it shows that there are seven archetypal themes which recur throughout every kind of storytelling. But this is only the prelude to an investigation into how and why we are 'programmed' to imagine stories in these ways, and how they relate to the inmost patterns of human psychology. Drawing on a vast array of examples, from Proust to detective stories, from the Marquis de Sade to E.T., Christopher Booker then leads us through the extraordinary changes in the nature of storytelling over the past 200 years, and why so many stories have 'lost the plot' by losing touch with their underlying archetypal purpose. Booker analyses why evolution has given us the need to tell stories and illustrates how storytelling has provided a uniquely revealing mirror to mankind's psychological development over the past 5000 years.This seminal book opens up in an entirely new way our understanding of the real purpose storytelling plays in our lives, and will be a talking point for years to come.

    Le Guin generously shares the accumulated wisdom of a lifetime's work.

    Now featuring unique visual portfolios and a CD-ROM packed with activities and contextual material, the new edition brings literature to life for students as never before.

    The ups and downs of writing life—including self-doubt and writer's block—are here, along with tips about getting published and writing in the electronic age. On your own, this book can be your "teacher," while groups, in or out of the classroom, can profit from sharing weekly assignments.

    Coetzee's Disgrace, Don DeLillo's Underworld, Jonathan Franzen's The Corrections, Mark Haddon's The Curious Incident of the Dog in the Night-Time, Patricia Highsmith's Ripley under Ground, Ian McEwan's Atonement, John le Carr�'s The Constant Gardener, Philip Roth's The Human Stain, Jonathan Safran Foer's Everything Is Illuminated, and Zadie Smith's White Teeth. He highlights how these acclaimed authors use some of the basic elements of fiction. Some topics (like plot, dialogue, or location) will appear familiar to most novel readers, while others (meta-narrative, prolepsis, amplification) will open readers' eyes to new ways of understanding and appreciating the writer's craft. Mullan also excels at comparing modern and classic authors--Nick Hornby's adoption of a female narrator is compared to Daniel Defoe's; Ian McEwan's use of weather is set against Austen's and Hardy's. How Novels Work explains how the pleasures of novel reading often come from the formal ingenuity of the novelist, making visible techniques and effects we are often only half-aware of as we read. It is an entertaining and stimulating volume that will captivate anyone who is interested in the contemporary or the classical novel.

    In a story or a novel the "I" who tells this tale can be, and often is, an unreliable narrator but in nonfiction the reader must always be persuaded that the narrator is speaking truth.How does one pull from one's own boring, agitated self the truth-speaker who will tell the story a personal narrative needs to tell? That is the question The Situation and the Story asks--and answers. Taking us on a reading tour of some of the best memoirs and essays of the past hundred years, Gornick traces the changing idea of self that has dominated the century, and demonstrates the enduring truth-speaker to be found in the work of writers as diverse as Edmund Gosse, Joan Didion, Oscar Wilde, James Baldwin, or Marguerite Duras.This book, which grew out of fifteen years teaching in MFA programs, is itself a model of the lucid intelligence that has made Gornick one of our most admired writers of nonfiction. In it, she teaches us to write by teaching us how to read: how to recognize truth when we hear it in the writing of others and in our own.

    First published in 1935, it is still being read throughout the English-speaking world and has been widely translated. Hamlet has excited more curiosity and aroused more debate than any other play ever written. Is Hamlet really mad? Does he really see his father's ghost, or is it an illusion? Is the ghost good or bad? What does it all mean? Dover Wilson brings out the significance of each part of the complex action, against the background. His analysis of the play emphasises Shakespeare's dramatic art and shows how the play must be seen and heard to be understood. This is a readable, entertaining and scholarly book.

    Jurgen Wolff, bestselling author of Your Writing Coach, helps you translate these insights into action to master your craft and write what only you can write. From Robert Louis Stevenson to Mary Shelley, Alice Munro to Stephen King, Your Creative Writing Masterclass guide you through: finding your style, constructing powerful plots, enerating story ideas, overcoming writer's block, creating vivid characters and crafting your ideal writer's life. Brimming with support and suggested activities to develop your writing skills,Your Creative Writing Masterclass could be just what you need!