Writing Out Of Earshot

"Never talk in front of Dylan Thomas," they said as they consumed their pints and spoke of their woes and tribulations, and of the weird relative coming to stay awhile, "for the Welsh Bard will somehow weave his mercurial magic for others to consume, just as he consumes life with heart, spirit and desire flowing through him." I have very little in common with Dylan Thomas, except for a once fondness for whisky, a love of poetry-of which he is one of the masters of the twentieth century, alongside Allen Ginsberg, W.H. Auden, Maya Angelou, Adrienne Rich and Liverpool's very own Roger McGough-and that we both at one time performed our work in New York. It is, however, to Dylan Thomas that Writing Out of Earshot is dedicated, along with Ginsberg. The book of poetry you hold in your hand is a response to my long-lasting adoration of these two men. Writing Out of Earshot is also a confirmation that writing, for me at least, encompasses several aspects of life, of struggling with illness and the feeling of being invisible in a crowd, when people will say anything in front of you because they cannot see you. The life of a poet is not all drinks at The White Horse Hotel surrounded by hundreds of people; it is one that captures a moment when you are hidden away in your room, remembering, recalling certain words and worlds and transforming them as you give birth to the next poem. "Do not go gentle into that good night," for the moon outside your window is full, and the passing months have yet to tell their story. Ian D. Hall, 2021

“Never talk in front of Dylan Thomas,” they said as they consumed their pints and spoke of their woes and tribulations, and of the weird relative coming to stay awhile, “for the Welsh Bard will somehow weave his mercurial magic for others to consume, just as he consumes life with heart, spirit and desire flowing through him.” I have very little in common with Dylan Thomas, except for a once fondness for whisky, a love of poetry—of which he is one of the masters of the twentieth century, alongside Allen Ginsberg, W.H. Auden, Maya Angelou, Adrienne Rich and Liverpool’s very own Roger McGough—and that we both at one time performed our work in New York. It is, however, to Dylan Thomas that Writing Out of Earshot is dedicated, along with Ginsberg. The book of poetry you hold in your hand is a response to my long-lasting adoration of these two men. Writing Out of Earshot is also a confirmation that writing, for me at least, encompasses several aspects of life, of struggling with illness and the feeling of being invisible in a crowd, when people will say anything in front of you because they cannot see you. The life of a poet is not all drinks at The White Horse Hotel surrounded by hundreds of people; it is one that captures a moment when you are hidden away in your room, remembering, recalling certain words and worlds and transforming them as you give birth to the next poem. “Do not go gentle into that good night,” for the moon outside your window is full, and the passing months have yet to tell their story. Ian D. Hall, 2021

When cultural critics with such wildly divergent views as Jacques Barzun, Christopher Hitchens, Joseph Epstein, Dana Gioia, and Morris Dickstein all agree about the merits of one contemporary essayist, shouldn't you find out why? "I never think except when I sit down to write." -- Attributed to Montaigne by Edgar Allan Poe From Montaigne in the sixteenth century to Orwell, Eliot, and Trilling in the twentieth, the best literary essayists combine a gift for observation with an abiding commitment to books. Although it may seem that books are becoming less essential and that a revolution in sensibility is taking place, the essays of Arthur Krystal suggest otherwise. Companionable without being chummy, engaged without being didactic, erudite without being stuffy, he demonstrates that literature, even in the digital age, remains the truest expression of the human condition. Covering subjects as diverse as aphorisms, dueling, the night, and the 1960s, the essays gathered here offer the common reader uncommon pleasure. In prose that is both vibrant and elegant, Krystal negotiates among myriad subjects-from historical writing as exemplified by Jacques Barzun to the art of screenwriting as not so happily represented by F. Scott Fitzgerald. His cardinal rule as a writer? William Hazlitt's "Confound it, man, don't be insipid." No fear of that. Except When I Write is thoughtful in the most joyful sense-brimming with ideas in order to give us the flow and cadence of someone actually thinking. Keenly observant and death on pretension, Krystal examines the world of books without ever losing sight of the world beyond them. Literature may be the bedrock on which these essays rest, but as F. R. Leavis aptly noted, "One cannot seriously be interested in literature and remain purely literary in interests." Except When I Write is a reminder of both the pleasure and the power of a well-tuned essay.

The second edition of the award-winning Handbook of Autoethnography is a thematically organized volume that contextualizes contemporary practices of autoethnography and examines how the field has developed since the publication of the first edition in 2013. Throughout, contributors identify key autoethnographic themes and commitments and offer examples of diverse, thoughtful, effective, applied, and innovative autoethnography. The second edition is organized into five sections: In Section 1, Doing Autoethnography, contributors explore definitions of autoethnography, identify and demonstrate key features of autoethnography, and engage philosophical, relational, cultural, and ethical foundations of autoethnographic practice. In Section 2, Representing Autoethnography, contributors discuss forms and techniques for the process and craft of creating autoethnographic projects, using various media in/as autoethnography, and marking and making visible particular identities, knowledges, and voices. In Section 3, Teaching, Evaluating, and Publishing Autoethnography, contributors focus on supporting and supervising autoethnographic projects. They also offer perspectives on publishing and evaluating autoethnography. In Section 4, Challenges and Futures of Autoethnography, contributors consider contemporary challenges for autoethnography, including understanding autoethnography as a feminist, posthumanist, and decolonialist practice, as well as a method for studying texts, translations, and traumas. The volume concludes with Section 5, Autoethnographic Exemplars, a collection of sixteen classic and contemporary texts that can serve as models of autoethnographic scholarship. With contributions from more than 50 authors representing more than a dozen disciplines and writing from various locations around the world, the handbook develops, refines, and expands autoethnographic inquiry and qualitative research. This text will be a primary resource for novice and advanced researchers alike in a wide range of social science disciplines.

Legendary writing coach Jack Hart spent twenty-six years at the Oregonian and has taught students and professionals of all stripes, including bloggers, podcasters, and more than one Pulitzer Prize winner. Good writing, he says, has the same basic attributes regardless of genre or medium. Wordcraft shares Hart’s techniques for achieving those attributes in one of the most broadly useful writing books ever written. Originally published in 2006 as A Writer’s Coach, the book has been updated to address the needs of writers well beyond print journalists. Hart breaks the writing process into a series of manageable steps, from idea to polishing. Filled with real-world examples, both good and bad, Wordcraft shows how to bring such characteristics as force, brevity, clarity, rhythm, and color to any kind of writing. Wordcraft now functions as a set with the second edition of Hart’s book Storycraft, on the art of storytelling, also available from Chicago.

With more people writing books than reading them, who’d be an author? Four disparate, aspiring authors dream of getting their work published. As they strive for a breakthrough they are unaware that, in the world of traditional publishing, editors, agents and authors have enough problems of their own. The odds are stacked against success on both sides of the fence. The only person who seems to be doing well out of the writing game is the owner of The Write Stuff, a company selling ‘how to get published’ help to would-be authors. Inevitably, all roads eventually lead to The Write Stuff’s annual weekend writing conference. As the wannabe wordsmiths attempt to scramble on the ‘up’ escalator to literary stardom, will they notice the tragic author of many years passing them in the other direction? As the conference builds to an explosive climax, who’s going to start a new chapter in their life and who’s going to remain stuck on page one? Written Off is a tale with a surprising payoff: in the midst of all the humour there are also more genuine tips on how to achieve literary success woven into the story than can be found in many text books and courses. Wickedly funny, Written Off will particularly appeal to both aspiring and established authors who have been left jaded by their dealings with the publishing industry (not to mention the long-suffering partners who are forced to tend to ‘writer’s paranoia’ on a daily basis).

Write personal and professional communications with clarity, confidence, and style. How to Write It is the essential resource for eloquent personal and professional self-expression. Award-winning journalist Sandra E. Lamb transforms even reluctant scribblers into articulate wordsmiths by providing compelling examples of nearly every type and form of written communication. Completely updated and expanded, the new third edition offers hundreds of handy word, phrase, and sentence lists, precisely crafted sample paragraphs, and professionally designed document layouts. How to Write It is a must-own for students, teachers, authors, journalists, bloggers, managers, and anyone who doesn’t have time to wade through a massive style guide but needs a friendly desk reference.

This book contains a tour that I gave as a historic interpreter at the Mark Twain House in Hartford, Connecticut. It takes the readers from the front lawn to the porch to the hall, then goes room by room throughout the author’s family home, telling the story of the wonderful life they all lived in a house that felt alive to them for seventeen years. I did this for several years, and it enabled me to learn all about the author and his family, and to read many of his works. It also led me to meet many fascinating and fun members of the public as I showed them around and told them hilarious, uproarious tales of Samuel Langhorne Clemens, a.k.a. Mark Twain, in the manner of a stand-up comic. They loved it, as did I. Many of these visitors made a wonderful remark to me at the conclusion of tour after tour after tour: “That was the best tour I have ever had anywhere. I wish I could buy a copy of it. You should write your tour down, as is.” So, I did.