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.

"The first level of this two-level writing text draws on students' world knowledge, beliefs, and perceptions to teach organization and other aspects of the writing process. Every unit in the Student's Book contains brainstorming activities, analysis of models, activities focusing on organization, and pre-writing, writing, and post-writing 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 lessons, as well as self-contained activities that do not require completion of all previous ones - an advantage in a class where students attend irregularly. 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 class."--PUBLISHER DESCRIPTION.

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.

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."

"Writing from within 1 teaches high-beginning students how to generate topics and write cohesive one- and two-paragraph compositions"-- Back cover.

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.

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.