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As an American author who chose to live in Europe, Henry James frequently wrote about cultural differences between the Old and New World. The plight of bewildered Americans adrift on a sea of European sophistication became a regular theme in his fiction. This collection of twenty-four papers from some of the world's leading James scholars offers a comprehensive picture of the author's cross-cultural aesthetics. It provides detailed analyses of James's perception of Europe—of its people and places, its history and culture, its artists and thinkers, its aesthetics and its ethics—which ultimately lead to a profound reevaluation of his writing.

An invaluable companion for any writer seeking to make the writing life a more complex and cooperative venture “Illuminating, deeply endearing essays.”—Ron Charles, Washington Post “A lovely, loving letter to aspiring writers.”—Diego Báez, Booklist In these intimate and eloquent meditations, the award-winning poet Carl Phillips shares lessons he has learned about the writing life, an “apprenticeship to what can never fully be mastered.” Drawing on forty years of teaching and mentoring emerging writers, he weaves his experiences as a poet with the necessary survival skills, including ambition, stamina, silence, politics, practice, audience, and community. In the tradition of Anne Lamott's Bird by Bird, Rainer Maria Rilke's Letters to a Young Poet, and Marcus Aurelius's Meditations, this is an invaluable companion for writers at every stage of their journey. Phillips's book serves as a partner in speculation and an invitation to embrace mystery.

A NATIONAL INDIE BESTSELLERA BEST BOOK OF 2022 (Air Mail) Four new and revelatory essays by the author of My Brilliant Friend and The Lost Daughter. In 2020, Claire Luchette in O, The Oprah Magazine described the beloved Italian novelist Elena Ferrante as “an oracle among authors.” Here, in these four crisp essays, Ferrante offers a rare look at the origins of her literary powers. She writes about her influences, her struggles, and her formation as both a reader and a writer; she describes the perils of “bad language” and suggests ways in which it has long excluded women's truth; she proposes a choral fusion of feminine talent as she brilliantly discourses on the work of Emily Dickinson, Gertrude Stein, Ingeborg Bachmann, and many others. Here is a subtle yet candid book by “one of the great novelists of our time” about adventures in literature, both in and out of the margins. “Everyone should read everything with Elena Ferrante's name on it.”—The Boston Globe

In this combination memoir and craft book, award-winning author Jerry Apps shares the next phase in his life story begun in Limping through Life and Once a Professor. Beginning with a boyhood surrounded by storytellers, Jerry takes readers along on his path to becoming one of the Midwest's best-known and most revered writers. In characteristic no-nonsense style, he shares the joys, disappointments, and frustrations of the writing life and describes the genesis and creation of many of his best-known books. In recounting his nearly six-decade writing career, Jerry provides an insider's view into the creative process, delving into sources for ideas, research strategies, and guidelines and essential tools for writing. Along the way he recalls his relationships with publishers, editors, TV producers, librarians, booksellers, and others and shares a scrapbook's worth of stories—some funny, some heartwarming, a few of them harrowing—from the road. A book for book lovers!

A memoir by the New York Times–bestselling author and longtime chronicler of America's wealthy elite. Born in Connecticut in 1929 and educated at Williams College, Stephen Birmingham went on to create a literary niche with his numerous nonfiction works about New York's—and the nation's—upper class, particularly focusing on Jewish, African American, and Irish communities, as well as old-money WASPs. He also drew on his “intimate knowledge of the private lives of the rich and famous” to write bestselling works of fiction such as The Auerbach Will (The New York Times Book Review). In this book, Birmingham's attention is turned to his own life, both personal and professional, allowing us to learn about the man who created such compelling portraits of glittering parties, exclusive addresses, and, in some cases, rags-to-riches sagas that epitomize the American dream—and the American struggle. In the end, his story is as fascinating as those of the aristocrats he documented. “When it comes to the folkways of the rich, the powerful, and the privileged, Stephen Birmingham knows what he's talking about.” —Los Angeles Times

The second book in the Why I Write series provides generous insight into the creative process of the award-winning Norwegian novelist Karl Ove Knausgaard “Why I Write” may prove to be the most difficult question Karl Ove Knausgaard has struggled to answer yet it is central to the project of one of the most influential writers working today. To write, for the Norwegian artist, is to resist easy thinking and preconceived notions that inhibit awareness of our lives. Knausgaard writes to “erode [his] own notions about the world.... It is one thing to know something, another to write about it.” The key to enhanced living is the ability to hit upon something inadvertently, to regard it from a position of defenselessness and unknowing. A deeply personal meditation, Inadvertent is a cogent and accessible guide to the creative process of one of our most prolific and ingenious artists.

'Biespiel's supple memoir of becoming a poet will surely inspire other writers to embrace the bodily character of writing and feel the power and, sometimes, the emptiness of the act of writing poetry.'—Publishers Weekly (starred review)The Education of a Young Poet is David Biespiel's moving account of his awakening to writing and the language that can shape a life. Exploring the original source of his creative impulse—a great–grandfather who traveled alone from Ukraine to America in 1910, eventually settling as a rag peddler in the tiny town of Elma, Iowa—through the generations that followed, Biespiel tracks his childhood in Texas and his university days in the northeast, led along by the''pattern and random bursts that make up a life.'His book offers an intimate recollection of how one person forges a life as a writer during extraordinary times. From the Jewish quarter of Houston in the 1970s to bohemian Boston in the 1980s, from Russia's Pale of Settlement to a farming village in Vermont, Biespiel remains alert to the magic of possibilities—ancestral journeys, hash parties, political rallies, family connections, uncertain loves, the thrill of sex, and lasting friendships. Woven throughout are reflections on the writer's craft coupled with a classic coming–of–age tale that does for Boston in the 1980s what Hemingway's A Moveable Feast did for Paris in the 1920s and Broyard's Kafka Was the Rage did for Greenwich Village in the 1950s.Restless with curiosity and enthusiasm, The Education of a Young Poet is a singular and universal bildungsroman that movingly demonstrates,'in telling the story of one's coming into consciousness, all languages are more or less the same.'

A collection of essays from today's most acclaimed authors—from Cheryl Strayed to Roxane Gay to Jennifer Weiner, Alexander Chee, Nick Hornby, and Jonathan Franzen—on the realities of making a living in the writing world.In the literary world, the debate around writing and commerce often begs us to take sides: either writers should be paid for everything they do or writers should just pay their dues and count themselves lucky to be published. You should never quit your day job, but your ultimate goal should be to quit your day job. It's an endless, confusing, and often controversial conversation that, despite our bare-it-all culture, still remains taboo. In Scratch, Manjula Martin has gathered interviews and essays from established and rising authors to confront the age-old question: how do creative people make money? As contributors including Jonathan Franzen, Cheryl Strayed, Roxane Gay, Nick Hornby, Susan Orlean, Alexander Chee, Daniel Jose Older, Jennifer Weiner, and Yiyun Li candidly and emotionally discuss money, MFA programs, teaching fellowships, finally getting published, and what success really means to them, Scratch honestly addresses the tensions between writing and money, work and life, literature and commerce. The result is an entertaining and inspiring book that helps readers and writers understand what it's really like to make art in a world that runs on money—and why it matters. Essential reading for aspiring and experienced writers, and for anyone interested in the future of literature, Scratch is the perfect bookshelf companion to On Writing, Never Can Say Goodbye, and MFA vs. NYC.

Robert Louis Stevenson (1850–1894) loved more than anything to talk about the craft of writing and the pleasure of reading good books. His dedication to the creative impulse manifests itself in the extraordinary amount of work he produced in virtually every literary genre—fiction, poetry, travel writing, and essays—in a short and peripatetic life. His letters, especially, confess his elation at the richness of words and the companionship of books, often projected against ill health and the shadow of his own mortality. Stevenson belonged to a newly commercial literary world, an era of mass readership, marketing, and celebrity. He had plenty of practical advice for writers who wanted to enter the profession: study the best authors, aim for simplicity, strike a keynote, work on your style. He also held that a writer should adhere to the truth and utter only what seems sincere to his or her heart and experience of the world. Writers have messages to deliver, whether the work is a tale of Highland adventure, a collection of children's verse, or an essay on umbrellas. Stevenson believed that an author could do no better than to find the appetite for joy, the secret place of delight that is the hidden nucleus of most people's lives. His remarks on how to write, on style and method, and on pleasure and moral purpose contain everything in literature and life that he cared most about—adventuring, persisting, finding out who you are, and learning to embrace “the romance of destiny.”

A thought-provoking journey inside the minds of the world's most accomplished storytellers, from Shakespeare to Stephen KingNAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE SPECTATOR • “Richard Cohen's book acted as a tonic to me. It didn't make me more Russian, but it fired up my imagination. I have never annotated a book so fiercely.”—Hilary Mantel“There are three rules for writing a novel,” Somerset Maugham is said to have said. “Unfortunately, no one knows what they are.” How then to bring characters to life, find a voice, kill your darlings, or run that most challenging of literary gauntlets, writing a sex scene? What made Nabokov choose the name Lolita? Why did Fitzgerald use firstperson narration in The Great Gatsby? How did Kerouac, who raged against revision, finally come to revise On the Road?Veteran editor and author Richard Cohen takes us on an engrossing journey into the lives and minds of the world's greatest writers, from Honoré de Balzac and George Eliot to Virginia Woolf and Zadie Smith—with a few mischievous detours to visit Tolstoy along the way. In a scintillating tour d'horizon, Cohen lays bare the tricks, motivations, and techniques of the literary greats, revealing their obsessions and flaws and how we can learn from them along the way.

During the past thirty years, the editors of the Hudson Review have observed a trend among some of the best literary essayists and reviewers to situate their criticism in a deeply personal manner as opposed to the theoretical, technocratic work being produced in many literary and academic publications. Over time, the Hudson Review became a home for this kind of accessible, memoirist writing. Literary Awakenings collects eighteen essays published over the last three decades that celebrate the writer's relationship with literature, one that is deeply shaped by experience and remembrance.The essays gathered here recall disparate awakenings to the influence of literature and discoveries of the many ways in which it enriches nearly every aspect of our lives. Antonio Muñoz Molina describes his education as a writer and a citizen as a form of protest against Franco's totalitarian regime in Spain. Drawing upon Huckleberry Finn, Wendell Berry meditates on the impulse to escape that literature often invokes, and Judith Pascoe's tribute to Clarissa confesses to the appeal of reading select literature that initiates one into an exclusive coterie of people. What unites these diverse contributions is the joy of appreciation, the pleasures of engaging with literature.

Drawing on 30 years of BOMB Magazine, this anthology of interviews brings together some of the greatest figures of world literature for a brilliant and unforgettable collection of sharp, insightful and intimate author conversations. Here we have a conversation with Jonathan Franzen, still an unknown author, on the eve of the publication of The Corrections; and one with Roberto Bolaño, near the end of his life. Lydia Davis and Francine Prose break down the intricacies of Davis's methods; Edwidge Danticat and Junot Díaz discuss the power of Caribbean diasporic fiction. This anthology brings together some of the greatest figures of world literature for a brilliant and unforgettable collection of sharp, insightful and intimate author conversations.

NAMED ONE OF THE BEST BOOKS OF THE YEAR BY KIRKUS REVIEWSGood Prose is an inspiring book about writing—about the creation of good prose—and the record of a warm and productive literary friendship. The story begins in 1973, in the offices of The Atlantic Monthly, in Boston, where a young freelance writer named Tracy Kidder came looking for an assignment. Richard Todd was the editor who encouraged him. From that article grew a lifelong association. Before long, Kidder's The Soul of a New Machine, the first book the two worked on together, had won the Pulitzer Prize. It was a heady moment, but for Kidder and Todd it was only the beginning of an education in the art of nonfiction. Good Prose explores three major nonfiction forms: narratives, essays, and memoirs. Kidder and Todd draw candidly, sometimes comically, on their own experience—their mistakes as well as accomplishments—to demonstrate the pragmatic ways in which creative problems get solved. They also turn to the works of a wide range of writers, novelists as well as nonfiction writers, for models and instruction. They talk about narrative strategies (and about how to find a story, sometimes in surprising places), about the ethical challenges of nonfiction, and about the realities of making a living as a writer. They offer some tart and emphatic opinions on the current state of language. And they take a clear stand against playing loose with the facts. Their advice is always grounded in the practical world of writing and publishing. Good Prose—like Strunk and White's The Elements of Style—is a succinct, authoritative, and entertaining arbiter of standards in contemporary writing, offering guidance for the professional writer and the beginner alike. This wise and useful book is the perfect companion for anyone who loves to read good books and longs to write one.Praise for Good Prose “Smart, lucid, and entertaining.”—The Boston Globe “You are in such good company—congenial, ironic, a bit old-school—that you're happy to follow [Kidder and Todd] where they lead you.”—The Wall Street Journal “[A] well-structured, to-the-point, genuinely useful, and fun-to-read guide to writing narrative nonfiction, essays, and memoir... Crisp, informative, and mind-expanding.”—Booklist “A gem... The finer points of creative nonfiction are molded into an inspiring read that will affect the would-be writer as much as Anne Lamott's Bird by Bird or Stephen King's On Writing.... This is a must read for nonfiction writers.”—Library Journal “As approachable and applicable as any writing manual available.”—Associated Press

This national bestseller from celebrated novelist and memoirist Dani Shapiro is an intimate and eloquent companion to living a creative life. Through a blend of memoir, meditation on the artistic process, and advice on craft, Shapiro offers her gift to writers everywhere: a guide of hard-won wisdom and advice for staying the course. In the ten years since the first edition, Still Writing has become a mainstay of creative writing classes as well as a lodestar for writers just starting out, and above all, an indispensable almanac for modern writers.

Gerber writes of her apprenticeships with celebrated writing teachers Andrew Lytle and Wallace Stegner and recounts her ghostly (and ghastly) experiences during a month at Yaddo, the famous retreat for artists. Gerber includes three pieces in the book—originally published as stories—but which blur the line between fiction and memoir, demonstrating Gerber's contention that the deepest secrets in life beget the most passionate fictions.

In this warm and inspiring guide, a #1 New York Times bestselling author shares her unique insight to how to write: from finding a subject and creating good writing habits to sustaining progress and seeking a publisher. “The most important thing to realize is that everyone is capable of telling a story.” —Maeve Binchy If you scribble story ideas on the backs of receipts…If you file away bits of overheard conversation from the coffee shop... If you've already chosen the perfect pen name... Well, then the journey has begun! From beloved author Maeve Binchy comes the unique insight to how a bestselling author writes: from finding a subject and creating good writing habits to sustaining progress and seeking a publisher. Whether you want to write stories or plays, humor or mysteries, Binchy prescribes advice for every step with her signature humor and generous spirit. She has called upon other writers, editors, and publishers to add their voices to this treasury of assistance for budding writers and a refreshing dose of encouragement for longtime scribes. And once you are ready, an appendix offers of writing awards and competitions and a selection of websites and literary journals.

Personal reflections on the vital role of the notebook in creative writing, from Dorianne Laux, Sue Grafton, John Dufresne, Kyoko Mori, and more.This collection of essays by established professional writers explores how their notebooks serve as their studios and workshops—places to collect, to play, and to make new discoveries with language, passions, and curiosities. For these diverse writers, the journal also serves as an ideal forum to develop their writing voice, whether crafting fiction, nonfiction, or poetry. Some include sample journal entries that have since developed into published pieces. Through their individual approaches to keeping a notebook, the contributors offer valuable advice, personal recollections, and a hearty endorsement of the value of using notebooks to document, develop, and nurture a writer's creative spark.

A revealing look at the power of speaking out, Writing in an Age of Silence describes Paretski's coming of age in a time of great possibility, during the civil rights movement, the peace movement, and the women's movement. Bestselling crime-writer Sarah Paretsky has won critical acclaim for her V.I. Warshawski novels, centered around one of the first and most popular female investigators in contemporary fiction. In this fascinating and personal account, Paretsky describes a life shaped by the desire to act. From the feminist movement—which triggered her aspirations to write and shaped the character of her female detective—to the Patriot Act and the liberties we have lost, Paretsky describes the struggle of one individual to find a voice. A moving call to action, Writing in an Age of Silence chronicles the social changes that have shaped contemporary America, and mirrors a desire for freedom, both personal and political, that many Americans will relate to today.

Description based on print version record.

For the twice-published novelist, reading an article about herself in the National Enquirer—under the headline'Here's One for the Books: Cleaning Lady Is an Acclaimed Author'—was more than a shock. It was an inspiration.In A Broom of One's Own, Nancy Peacock, whose first novel was selected by the New York Times as a Notable Book of the Year, explores with warmth, wit, and candor what it means to be a writer. An encouragement to all hard-working artists, no matter how they make a living, Peacock's book provides valuable insights and advice on motivation, craft, and criticism while offering hilarious anecdotes about the houses she cleans.

'Candid memoir that takes readers along on a tour of soul-sucking jobs, marriage, a teaching career,'60s pop culture, writing workshops, and other amusing detours on the way to publication, sharing keen insights into the process of novel-writing and the role of a southern writer in American literary culture'--Provided by publisher.

Celebrated author Ellen Gilchrist played many roles—writer and speaker, wife and lover, mother and grandmother. But she had never tackled the role of teacher.Offered the opportunity to teach creative writing at the University of Arkansas, she accepted the challenge and ventured into unknown territory. In the process of teaching more than two hundred students since her first class in 2000, she found inspiration in their lives and ambitions and in the challenge of conveying to them the lessons she had learned from living and writing. The Writing Life brings together fifty essays and vignettes centered on the transforming magic of literature and the teaching and writing of it. A portion of the collection discusses the delicate balance between an artistic life and family commitments, especially the daily pressures and frequent compromises faced by a young mother. Gilchrist next focuses on the process of writing itself with essays ranging from “How I Wrote a Book of Short Stories in Three Months” to “Why Is Rewriting So Hard?” Several essays discuss her appreciation of other writers, from Shakespeare to Larry McMurtry, and the lessons she learned from them. Eudora Welty made an indelible impact on Gilchrist's work. When Gilchrist takes on the task of teaching, her essays reveal an enriched understanding of the role writing plays in any life devoted to the craft. Humorous and insightful, she assesses her own abilities as an instructor and confronts the challenge of inspiring students to attain the discipline and courage to pursue the sullen art. Some of these pieces have been previously published in magazines, but most are unpublished, and all appear here in book form for the first time.

Larry McMurtry declares,'Texas itself doesn't have anything to do with why I write. It never did.'Horton Foote, on the other hand, says,'I've just never had a desire to write about any place else.'In between those figurative bookends are hundreds of other writers—some internationally recognized, others just becoming known—who draw inspiration and often subject matter from the unique places and people that are Texas. To give everyone who is interested in Texas writing a representative sampling of the breadth and vitality of the state's current literary production, this volume features conversations with fifty of Texas's most notable established writers and emerging talents. The writers included here work in a wide variety of genres—novels, short stories, poetry, plays, screenplays, essays, nonfiction, and magazine journalism. In their conversations with interviewers from the Writers'League of Texas and other authors'organizations, the writers speak of their apprenticeships, literary influences, working habits, connections with their readers, and the domestic and public events that have shaped their writing. Accompanying the interviews are excerpts from the writers'work, as well as their photographs, biographies, and bibliographies. Joe Holley's introductory essay—an overview of Texas writing from Cabeza de Vaca's 1542 Relación to the work of today's generation of writers, who are equally at home in Hollywood as in Texas—provides the necessary context to appreciate such a diverse collection of literary voices. A sampling from the book:'This land has been my subject matter. One thing that distinguishes me from the true naturalist is that I've never been able to look at land without thinking of the people who've been on it. It's fundamental to me.'—John Graves'Writing is a way to keep ourselves more in touch with everything we experience. It seems the best gifts and thoughts are given to us when we pause, take a deep breath, look around, see what's there, and return to where we were, revived.'—Naomi Shihab Nye'I've said this many times in print: the novel is the middle-age genre. Very few people have written really good novels when they are young, and few people have written really good novels when they are old. You just tail off, and lose a certain level of concentration. Your imaginative energy begins to lag. I feel like I'm repeating myself, and most writers do repeat themselves.'—Larry McMurtry'I was a pretty poor cowhand. I grew up on the Macaraw Ranch, east of Crane, Texas. My father tried very hard to make a cowboy out of me, but in my case it never seemed to work too well. I had more of a literary bent. I loved to read, and very early on I began to write small stories, short stories, out of the things I liked to read.'—Elmer Kelton

At the beginning of a new writing project—whether it's the first page of a new novel or a less ambitious project, writers often experience exhilaration, fear, or dread. For Kristjana Gunnars, the call of a new project is “like someone you don't know knocking on your door—you either choose to let the person in or not. It's both exciting and dangerous to start a new manuscript.” This book is an engagement with that “stranger” called writing. Creative or imaginative writing is a complex process that involves more than intellect alone. Writers make use of everything: their sensibilities, history, culture, knowledge, experience, education, and even their biology. These essays seek out, and gather into a discussion, what writers have said about their own experiences in writing. Although the writers are from around the world and of very different backgrounds, the commonality of their remarks brings home the realization that writers everywhere are grappling with similar problems—with the seemingly simple problems of when, where, why, and what to write, but also larger questions such as the relationship between writer and society, or issues of privacy, appropriation, or homelessness. While none of these questions can be definitively answered, they can be fruitfully discussed. Originating as questions posed in creative-writing seminars, these essays have grown into companion texts for both writers and readers who want to participate in a conversation about what writers do.

The revered American Poet Laureate reflects on the meaning of work, solitude, and love with “extraordinary nobility and wisdom” (The New York Times) When Donald Hall moved to his grandparents'New Hampshire farm in 1975, his work as a writer and a life devoted to the literary arts must have seemed remote from the harsh physical labor of his ancestors. However, he reveals a similar kind of artistry in the lives of his grandparents, Kate and Wesley. From them, he learned that the devotion to craft—be it canning vegetables, writing poems, or carting manure—creates its own special discipline and an ‘absorbedness'that no wage can compensate. In this “sustained meditation on work as the key to personal happiness” (Los Angeles Times), we see how the writer has modeled his own life on his family's lives of work, solitude, and love. When Hall comes face to face with his own mortality halfway through writing this book, we understand both his obsession with work and its ultimate consolation.

He published his only novel more than fifty years ago. He has hardly been seen or heard from since 1965. Most writers fitting such a description are long forgotten, but if the novel is The Catcher in the Rye and the writer is J. D. Salinger... well, he's the stuff of legends, the most famously reclusive writer of the twentieth century. If you could write to him, what would you say? Salinger continues to maintain his silence, but Holden Caulfield, Franny and Zooey, and Seymour Glass—the unforgettable characters of his novel and short stories—continue to speak to generations of readers and writers. Letters to Salinger includes more than 150 personal letters addressed to Salinger from well-known writers, editors, critics, journalists, and other luminaries, as well as from students, teachers, and readers around the world, some of whom have just discovered Salinger for the first time. Their voices testify to the lasting impressions Salinger's ideas and emotions have made on so many diverse lives. Contributors include Marvin Bell, Frederick Busch, Stephen Collins, Nicholas Delbanco, Warren French, Herbert Gold, W. P. Kinsella, Molly McQuade, Stewart O'Nan, Robert O'Connor, Ellis Paul, Molly Peacock, Sanford Pinsker, George Plimpton, Gerald Rosen, Sid Salinger, David Shields, Joseph Skibell, Melanie Rae Thon, Alma Luz Villanueva, Katharine Weber, and many others

There are countless theoretical arguments that attempt to define “major” and “minor” literatures, but this lively and deeply felt work is one of the first to speak from the authority of the experience of being minor—of being the “minor writer” who, according to the definition of “author” given by Michel Foucault, does not possess a “name.” This book, then, is an impassioned critical and ethical defense of the act of writing for purposes other than critical acclaim. In the tradition of Horace's Ars Poetica, Gilliland uses comments by a broad range of writers, as well as her own experience as a minor woman writer, to consider the basic Horatian questions of purpose, choice of subject matter and genre, diction, characterization, setting, and style. She points out that in the absence of major recognition, the minor writer is continually confronted by the existential question, why do I (still) write? This book offers not only a challenge to existing critical theories but an argument in favor of being—for still being, for continuing anyway with one's life and art

Baker muses on the creative process via his obsession with John Updike.

From the best-selling author of Rubyfruit Jungle and Bingo, here is a writers'manual as provocative, frank, and funny as her fiction. Unlike most writers'guides, this one had as much to do with how writers live as with mastering the tools of their trade. Rita Mae Brown begins with a very personal account of her own career, from her days as a young poet who had written a novel no publisher wanted to take a chance on, right up to her recent adventures as a Hollywood screenwriter. In a sassy style that makes her outspoken advice as entertaining as it is useful, she provides straight talk about paying the rent while maintaining the energy to write; and dealing with agents, publishers, critics, and the publicity circus; about pursuingj ournalisim, academia, or screen-writing; and about rejecting the Hemingway myth of the hard-living, hard-drinking genius. In addition Brown, a former teacher or writing, offers a serious examination of the writer's tool--language, plotting, characters, symbolism--plus exercises to sharpen the ear for dialogue, and a fascinating, annoted reading list of important works from the seventh century to the late twentieth.