Mooring Against the Tide

Description

Preface.

PART I.  POETRY.

1. Getting Started.

2. Imagery.

“Laying Bare the Bones” by Lisa Chavez

3. Lines and Stanzas.

“Hey, Good Lookin’, Haven’t We Met Somewhere Before?” by Beckian Fritz Goldberg.

4. Sound and the Poem.

“Degas in Vegas: Some Thoughts on Sound in Poetry” by Alberto Rios.

5. Rhyme and Meter, the Music of Poems.

“Meter and Rhyme” by James Hoggard.

6. Voice and How We Create It in Poems.

“Voice: What You Say and How Readers Hear It” by Kevin Stein.

7. Point of View in Poems.

“Point of View in Poetry” by James Hoggard.

8. Fixed Forms: Creating Our Poetic World.

“Form in Poetry” by Lynn Hoggard.

9. Putting It All Together: The Whole Poem.

“Lorca’s Duende, The Art of Zingers in Poetry Workshops, or How to Teach Students to Energize Their Poems” by Virgil Suarez.

10. Revision.

“Moonsheen and Porchlight: Revision as Illumination” by Gary Thompson.

11. The Poetry Workshop.

12. Workshopping a Free Verse Poem.

13. Workshopping a Fixed Form Poem.

Poems for Further Reading.

The Eagle  by Alfred Lord Tennyson.

Because I Could not Stop for Death  by Emily Dickinson.

I think I could Turn and Live with Animals  by Walt Whitman.

On Being Brought from Africa…  by Phyllis Wheatley.

She’s Free  by Frances Harper.

Killers  by Carl Sandburg.

Sonnet 14  by Elizabeth Barrett Browning.

In Which She Satisfies a Fear…  by Sor Juana Ines de la Cruz.

The Movies  by Florence Kiper Frank.

A Winter Ride  by Amy Lowell.

The Fathers  by Gary Thompson.

An American Tale of Sex and Death  by Kevin Stein.

The Passing House  by Beckian Fritz Goldberg.

At A Wedding in Mexico City  by Lisa Chavez.

Nureyev’s Feet  by Scott Hightower.

Found Map of Spain  by Gaylord Brewer.

Anniversary  by Teresa Leo.

Waking  by Albert Garcia.

Unsent Message to My Brother…  by Leon Stokesbury.

Sermon of the Fallen  by David Bottoms.

Those Riches  by Robert Wrigley.

Funeral  by Harry Hume.

Song of Napalm  by Bruce Weigle.

Fish  by Tom Crawford.

Poem for the Young White Man Who Asked Me…  by Lorne Dee Cervantes.

PART II.  FICTION.

14. Surrounded by Stories: Where Our Stories Come From.

“The Second Story: How a Promising Single Episode Might Find Its Fullest Use in Our Fiction” by Ron Carlson.

15. Point of View.

“Touching the Elephant” by Melissa Pritchard.

16. Plot.

“Fairy Tales Always Come True: Plot and Imagination” by H. Lee Barnes.

17. Character.

“A Character’s Skin” by Tracy Daugherty.

18. Setting.

“Take Place” by Valerie Miner.

19. Dialogue.

“On Dialogue” by Diana Abu-Jaber.

20. Style, Tone, and Voice.

“Voice in Fiction” by Amy Sage Webb.

21. Credible Surprise on the Path to Resonance.

“Mystery and Surprise” by Craig Lesley.

22. Theme.

23. Revision.

24. Participating in the Workshop.

25. Workshopping a Story in the First Person.

26. Workshopping a Story in the Third Person.

Stories for Further Reading.

The Ordinary Son  by Ron Carlson.

Shiloh  by Bobbie Ann Mason.

What We Talk About When We Talk About Love  by Raymond Carver.

Araby  by James Joyce.Port de Bras  by Melissa Pritchard.

Chrysanthemums  by John Steinbeck.

The Red Convertible  by Louise Erdrich.

A Very Old Man with Enormous Wings  by Gabriel Garcia Marquez.

The Lesson  by Toni Cade Bambara.

Yours  by Mary Robison.

Glossary.

Contributor’s Biographies.

Index.

Do you use a workshop approach in your creative writing course?

• Workshop Approach—Guides students through the process of creating poetry and fiction as if they are participants in a writing workshop by providing examples and practical guidelines.
  • Provides students with a process for writing their own works, preparing them to critique, and revise their work as well as the works of others.

• Workshop Sections—In each genre, a student story or poem is presented, followed by the work with margin notes from a professor, a critique, and student revision.
  • Enables students to witness the “evolutionary” process of writing. (Chapters 11, 12, 13, 24, 25, 26)

• Revision chapters.
  • Assists instructors in stressing the importance of revision by leading students from a discussion of the topic into a workshop section—again making a connection between theory and practice. Introduces students to a practical approach of revising their own work, helping them to review the process as a creative rather than corrective one. Chapters 10 & 23

• The Elements—Starts the text with chapters on the elements of fiction and poetry accompanied by an essay of an accomplished writer or poet which addresses that element.
  • Assembles the topics in a logical manner that gives students a sense of the creative process. Ex. Chapters 2, 3, 15, 16

• NEW — Creative Café online at www.prenhall.com/creativecafe. Packed with resources for the aspiring writer, including various links to literary journals and the nation’s top writing programs.
  • Provides aspiring writers with further resources for honing their own writing techniques and enhancing their experience in the challenging and rewarding art of writing fiction and poetry.

• Examples of student work throughout.
  • Exposes students to examples of writing—that may contain problems similar to theirs—to help them objectively view work, define problems on their own, and become better editors and writers. Ex. p121-127

• NEW – Added exercises—Increased number of class-tested exercises in each chapter.
  • Enables instructors to offer guided applications outside of class with the assurance that students can apply theory to practice. Illustrates to students how theory is applied to real work, and shows them how to create stories and poems. Ex. p80, p107

Would you like an anthology built into your creative writing text?

• Combines the writing instruction of Mooring Against the Tide with an anthology, like the one featured in The Writer’s Country,  to create a creative writing textbook with a built-in anthology.
  • Everything you need in one text.

• NEW –  Added a more robust anthology of selections from professional writers to complement their writing workshop. Of both fiction and poetry along with short essays on how to read a story and how to read a poem.
  • Directs students to these readings as examples of what was discussed in the chapter, providing useful review and reinforcement. Ex. p128-149; p305-383

• NEW – Two new essays—Now replace two guest essays.  Ex. “Laying Bare the Bones:  A Meditation on Imagery” by Lisa Chavez (p13); “Touching the Elephant” by Melissa Pritchard (p169)

• Contributing Authors’ Essays—18 essays written by established and well-known writers and poets covering the elements of fiction and poetry.
• Allows students to see multiple views on each element and how it functions in their writing. Ex. p.13, 25, 169, 179

For beginning and intermediate creative writing courses (General/Fiction/Poetry) that use a workshop approach.

Message:  This workshop-based textbook offers a hands-on, interactive approach to writing fiction and poetry.

Presenting the fundamental elements of both genres, the text illustrates the creative writing process and guides the students through several drafts of various student sample writings as if they were participating in an actual workshop. Clearly written and organized, it also includes student samples, class-tested exercises, and an easy-to-use guide to the workshop process.

Added a more robust anthology of selections from professional writers to complement their writing workshop. Of both fiction and poetry along with short essays on how to read a story and how to read a poem.

~Directs students to these readings as examples of what was discussed in the chapter, providing useful review and reinforcement. Ex. p128-149; p305-383

Two new essays–Now replace two guest essays. Ex. “Laying Bare the Bones:  A Meditation on Imagery” by Lisa Chavez (p13); “Touching the Elephant” by Melissa Pritchard (p169)

Creative Café online at www.prenhall.com/creativecafe. Packed with resources for the aspiring writer, including various links to literary journals and the nation’s top writing programs.

~Provides aspiring writers with further resources for honing their own writing techniques and enhancing their experience in the challenging and rewarding art of writing fiction and poetry.

Added exercises–Increased number of class-tested exercises in each chapter.

~Enables instructors to offer guided applications outside of class with the assurance that students can apply theory to practice. Illustrates to students how theory is applied to real work, and shows them how to create stories and poems. Ex. p80, p107

Additional information