In A Swim in a Pond in the Rain, he shares a version of that class with us, offering some of what he and his students have discovered together over the years. Paired with iconic short stories by Chekhov, Turgenev, Tolstoy, and Gogol, the seven essays in this book are intended for anyone interested in how fiction works and why it’s more relevant than ever in these turbulent times.In his introduction, Saunders writes, “We’re going to enter seven fastidiously constructed scale models of the world, made for a specific purpose that our time maybe doesn’t fully endorse but that these writers accepted implicitly as the aim of art—namely, to ask the big questions, questions like, How are we supposed to be living down here? What were we put here to accomplish? What should we value? What is truth, anyway, and how might we recognize it?” He approaches the stories technically yet accessibly, and through them explains how narrative functions; why we stay immersed in a story and why we resist it; and the bedrock virtues a writer must foster. The process of writing, Saunders reminds us, is a technical craft, but also a way of training oneself to see the world with new openness and curiosity.A Swim in a Pond in the Rain is a deep exploration not just of how great writing works but of how the mind itself works while reading, and of how the reading and writing of stories make genuine connection possible.

    Bly's thesis is that great works of art contain leaps within themselves: 'A poet who is leaping makes a jump from an object soaked in unconscious substance to an object or idea soaked in conscious psychic substance.' The greatest works of art carry the richest associations between the conscious and unconscious, and Bly notes with pleasure the resurgence of abundant leaping in modern poetry.

    Through an insightful study of Romantic poets, Bloom puts forth his central vision of the relations between precursors and the individual artist. His argument that all literary texts are a strong misreading of those that precede them had an enormous impact on the practice of criticism and post-structuralist literary theory. The book remains a central work of criticism for all students of literature.Written in a moving personal style, anchored by concrete examples, and memorable quotations, this second edition of Bloom's classic work maintains that the anxiety of influence cannot be evaded - neither by poets nor by responsible readers and critics. A new introduction, centering upon Shakespeare and Marlowe explains the genesis of Bloom's thinking, and the subsequent influence of the book on literary criticism of the past quarter of a century.

    How can recklessness guide the poet, the artist, and the reader into art, and how can it excite in us a sort of wild receptivity, beyond craft? "Poetry is not a discipline," Young writes. "It is a hunger, a revolt, a drive, a mash note, a fright, a tantrum, a grief, a hoax, a debacle, an application, an affect . . ."

    The end point of a story determines its meaning, and one of the main tasks a writer faces is to define the duration of a plot. Silber uses wide-ranging examples from F. Scott Fitzgerald, Chinua Achebe, and Arundhati Roy, among others, to illustrate five key ways in which time unfolds in fiction. In clear-eyed prose, Silber elucidates a tricky but vital aspect of the art of fiction.

    Drawing on a wide range of  great writers, from Philip Roth to Antonin Scalia to Jane Austen, How to Write a Sentence is much more than a writing manual—it is a spirited love letter to the written word, and a key to understanding how great writing works.

    In his novels and stories, in letters to editors, friends, fellow artists, and critics, in interviews and in commissioned articles on the subject, Hemingway wrote often about writing. And he wrote as well and as incisively about the subject as any writer who ever lived…This book contains Hemingway’s reflections on the nature of the writer and on elements of the writer’s life, including specific and helpful advice to writers on the craft of writing, work habits, and discipline. The Hemingway personality comes through in general wisdom, wit, humor, and insight, and in his insistence on the integrity of the writer and of the profession itself.—From the Preface by Larry W. Phillips

    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.

    Starting at 'The Beginning' and concluding with 'The End', chapters range from the familiar, such as 'Character', 'Narrative' and 'The Author', to the more unusual, such as 'Secrets', 'Pleasure' and 'Ghosts'. Now in its fifth edition, Bennett and Royle's classic textbook successfully illuminates complex ideas by engaging directly with literary works, so that a reading of Jane Eyre opens up ways of thinking about racial difference, for example, while Chaucer, Raymond Chandler and Monty Python are all invoked in a discussion of literature and laughter.The fifth edition has been revised throughout and includes four new chapters - 'Feelings', 'Wounds', 'Body' and 'Love' - to incorporate exciting recent developments in literary studies. In addition to further reading sections at the end of each chapter, the book contains a comprehensive bibliography and a glossary of key literary terms.A breath of fresh air in a field that can often seem dry and dauntingly theoretical, this book will open the reader's eyes to the exhilarating possibilities of reading and studying literature.

    Poetics. "ORDERING THE STORM empowers readers to see the poetry collection as an artistic medium in itself, and offers diverse perspectives on the subject. Experienced writers and beginners alike will find inspiration and encouragement in the words of exceptional poets such as Maggie Anderson, Wanda Coleman, and Beckian Fritz Goldberg. This book should be required reading for all graduate student poets, even those who are still in the process of writing their first collection, because it includes essential information on poetic sequencing and useful strategies for examining a manuscript's possibilities. One of the most exciting aspects of the book is the sense of community that readers feel upon exploring each essay. ORDERING THE STORM transforms the task of arranging poems from a solitary undertaking to a collaborative adventure"--Mary Biddinger, Associate Editor of RHINO.

    Rethinking the usage guide for the twenty-first century, Pinker doesn’t carp about the decline of language or recycle pet peeves from the rulebooks of a century ago. Instead, he applies insights from the sciences of language and mind to the challenge of crafting clear, coherent, and stylish prose. In this short, cheerful, and eminently practical book, Pinker shows how writing depends on imagination, empathy, coherence, grammatical knowhow, and an ability to savor and reverse engineer the good prose of others. He replaces dogma about usage with reason and evidence, allowing writers and editors to apply the guidelines judiciously, rather than robotically, being mindful of what they are designed to accomplish. Filled with examples of great and gruesome prose, Pinker shows us how the art of writing can be a form of pleasurable mastery and a fascinating intellectual topic in its own right.

    Cain's hard-nosed observation that "writing a novel is like working on foreign policy. There are problems to be solved. It's not all inspirational," to Joan Didion's account of how she composes a book--"I constantly retype my own sentences. Every day I go back to page one and just retype what I have. It gets me into a rhythm"--The Paris Review has elicited some of the most revelatory and revealing thoughts from the literary masters of our age. For more than half a century, the magazine has spoken with most of our leading novelists, poets, and playwrights, and the interviews themselves have come to be recognized as classic works of literature, an essential and definitive record of the writing life. They have won the coveted George Polk Award and have been a contender for the Pulitzer Prize. Now, Paris Review editor Philip Gourevitch introduces an entirely original selection of sixteen of the most celebrated interviews. Often startling, always engaging, these encounters contain an immense scope of intelligence, personality, experience, and wit from the likes of Elizabeth Bishop, Ernest Hemingway, Truman Capote, Rebecca West, and Billy Wilder. This is an indispensable book for all writers and readers.

    She invites us behind the scenes of novel-writing, sharing her own habits and spilling the secrets of her craft. And she offers priceless advice to aspiring authors. As she works her way through one hundred novels–from classics such as the thousand-year-old Tale of Genji to recent fiction by Zadie Smith and Alice Munro–she infects us anew with the passion for reading that is the governing spirit of this gift to book lovers everywhere.

    She investigates a specific element of craft - Image, Voice, Character, Setting and Story - from a perspective that crosses various genres.

    Many entries are followed by examples drawn from modern English poems that use the form and by references to well-known poems written in it. Each entry ends with complete cross-references so that readers can discover relationships and similarities among many of the forms. What makes The New Book of Forms more than just an encyclopedia of verse structure, though, is the opening section called "a handbook of poetics." This surveys the two modes of writing - prose and verse - and discusses various prosodic and metrical systems. Although the accent is on the forms of poetry, this book in fact contains all the information essential to a study of poetics from the Middle Ages to the present.