Writing From Within

Telling one's life stories can be a voyage of self-discovery, freeing up images and thoughts that have long remained hidden. Using the techniques of Writing From Within, anyone can create vivid autobiographical stories and life narratives. For everyone interested in writing, this program enables them to explore their lives, rediscover forgotten experiences, and find out hidden truths about themselves, their parents, and their family histories.

Through a range of exciting activities, this two-level series draws on students' world knowledge, beliefs, and personal experiences to teach various aspects of the writing process. Every unit in the Student's Book contains brainstorming activities, analysis of models, activities focusing on organization, and prewriting, writing, and postwriting activities. This book is designed to be suitable for large as well as small classes. It has 12 units with self-contained one- or two-page sections, as well as self-contained activities that do not require completion of all previous ones. There are activities to elicit both oral and written feedback from peers, and optional real-world expansion activities, giving learners the opportunity to communicate with English speakers outside of the classroom.

Writing from Within Second edition prepares students for paragraph and composition writing, while making the process enjoyable. Writing from Within, Level 2 focuses on generating topics, writing cohesive paragraphs, and organizing them into clear, logical compositions. The book contains twelve units, each one centering around a final writing assignment. As students prepare for their assignment, they brainstorm ideas for writing and analyze sample paragraphs and compositions for both language and organization. The units offer a balance of introspective writing assignments with more conventional, task-based ones. Level 2 writing topics include a major life event, personal goals, a research report, and a newspaper article.

Process poetics is about radical poetry — poetry that challenges dominant world views, values, and aesthetic practices with its use of unconventional punctuation, interrupted syntax, variable subject positions, repetition, fragmentation, and disjunction. To trace the aesthetically and politically radical poetries in English Canada since the 1960s, Pauline Butling and Susan Rudy begin with the “upstart” poets published in Vancouver’s TISH: A Poetry Newsletter, and follow the trajectory of process poetics in its national and international manifestations through the 1980s and ’90s. The poetics explored include the works of Nicole Brossard, Daphne Martlatt, bpNichol, George Bowering, Roy Kiyooka, and Frank Davey in the 1960s and ’70s. For the 1980-2000 period, the authors include essays on Jeff Derksen, Clare Harris, Erin Mour, and Lisa Robertson. They also look at books by older authors published after 1979, including Robin Blaser, Robert Kroetsch, and Fred Wah. A historiography of the radical poets, and a roster of the little magazines, small press publishers, literary festivals, and other such sites that have sustained poetic experimentation, provide context.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

For more than thirty years Natalie Goldberg has been challenging and cheering on writers with her books and workshops. In her groundbreaking first book, she brings together Zen meditation and writing in a new way. Writing practice, as she calls it, is no different from other forms of Zen practice—"it is backed by two thousand years of studying the mind." This thirtieth-anniversary edition includes new forewords by Julia Cameron and Bill Addison. It also includes a new preface in which Goldberg reflects on the enduring quality of the teachings here. She writes, "What have I learned about writing over these thirty years? I’ve written fourteen books, and it’s the practice here in Bones that is the foundation, sustaining and building my writing voice, that keeps me honest, teaches me how to endure the hard times and how to drop below discursive thinking, to taste the real meat of our minds and the life around us."

Scientific writing is often dry, wordy, and difficult to understand. But, as Anne E. Greene shows in Writing Science in Plain English,writers from all scientific disciplines can learn to produce clear, concise prose by mastering just a few simple principles. This short, focused guide presents a dozen such principles based on what readers need in order to understand complex information, including concrete subjects, strong verbs, consistent terms, and organized paragraphs. The author, a biologist and an experienced teacher of scientific writing, illustrates each principle with real-life examples of both good and bad writing and shows how to revise bad writing to make it clearer and more concise. She ends each chapter with practice exercises so that readers can come away with new writing skills after just one sitting. Writing Science in Plain English can help writers at all levels of their academic and professional careers—undergraduate students working on research reports, established scientists writing articles and grant proposals, or agency employees working to follow the Plain Writing Act. This essential resource is the perfect companion for all who seek to write science effectively.

Finalist for a 2019 Sidewise Award “Conceptually adventurous yet full of feeling. . . . smart, thought-provoking, and thoroughly enjoyable.” —Charles Yu, author of Interior Chinatown Wherever Hel looks, New York City is both reassuringly familiar and terribly wrong. As one of the thousands who fled the outbreak of nuclear war in an alternate United States—an alternate timeline, somewhere across the multiverse—she finds herself living as a refugee in our own not-so-parallel New York. The slang and technology are foreign to her, the politics and art unrecognizable. While others, like her partner, Vikram, attempt to assimilate, Hel refuses to reclaim her former career or create a new life. Instead, she obsessively rereads Vikram’s copy of The Pyronauts—a science fiction masterwork in her world that now only exists as a single flimsy paperback—and becomes determined to create a museum dedicated to preserving the remaining artifacts and memories of her vanished culture. But the refugees are unwelcome and Hel’s efforts are met with either indifference or hostility. And when the only copy of The Pyronauts goes missing, Hel must decide how far she is willing to go to recover it and finally face her own anger, guilt, and grief over what she has truly lost. With Famous Men Who Never Lived, K Chess has created a compelling and inventive speculative work on what home means to those who have lost it forever.