Results by title

428 books match the query 'Authorship' and 12 start with b

cover of Backtalk: Women Writers Speak Out

Backtalk

Women Writers Speak Out

Donna Perry

Rutgers University Press, 1993

Agents or victims, liberated or oppressed, "bad girls" or "good girls." What do these labels mean and do they further or hinder women's progress? How are today's visions of female sexuality and power like or unlike those of the past? How do younger women define feminism? Isn't the personal still political?

Dismayed by the media's tendency to reduce the feminist enterprise to labels and superstars, Donna Perry and Nan Bauer Maglin decided to find out what a diverse group of feminists think about women, sex, and power in the nineties. The result is a provocative and varied collection of twenty-four essays by second- and third-wave feminists; artists and activists; professors and graduate students; professional journalists and just-published writers; mothers and daughters. By focusing on society's construction, containment, and exploitation of female sexuality, in particular, these essays offer fresh perspectives on women's agency or lack of it.

The contributors focus on the oversimplifications and false dichotomies in current discussions of female sexuality, as well as the privileged perspective and individualism that currently dominate the popularized feminist message. Individual writers--including Emma Amos, bell hooks, Ann Jones, Lisa Jones, Paula Kamen, Matuschka, Marge Piercy, Katha Pollitt, Anna Quindlen, Elayne Rapping, Lillian S. Robinson, and Ellen Willis--reexamine women's empowerment in the light of issues like AIDS, battering, acquaintance rape, narratives of childhood sexual abuse, and pornography. Several draw political conclusions from their personal struggles, while others read stories and texts--from history, the art world, the media, popular culture, and social science research--in new and controversial ways.

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cover of Behind the Book: Eleven Authors on Their Path to Publication

Behind the Book

Eleven Authors on Their Path to Publication

Chris Mackenzie Jones

University of Chicago Press, 2018

Every book has a story of its own, a path leading from the initial idea that sparked it to its emergence into the world in published form. No two books follow quite the same path, but all are shaped by a similar array of market forces and writing craft concerns as well as by a cast of characters stretching beyond the author.
Behind the Book explores how eleven contemporary first-time authors, in genres ranging from post-apocalyptic fiction to young adult fantasy to travel memoir, navigated these pathways with their debut works. Based on extensive interviews with the authors, it covers the process of writing and publishing a book from beginning to end, including idea generation, developing a process, building a support network, revising the manuscript, finding the right approach to publication, building awareness, and ultimately moving on to the next project. It also includes insights from editors, agents, publishers, and others who helped to bring these projects to life.
Unlike other books on writing craft, Behind the Book looks at the larger picture of how an author’s work and choices can affect the outcome of a project. The authors profiled in each story open up about their challenges, mistakes, and successes. While their paths to publication may be unique, together they offer important lessons that authors of all types can apply to their own writing journeys.
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cover of Behind the Curtain of Scholarly Publishing: Editors in Writing Studies

Behind the Curtain of Scholarly Publishing

Editors in Writing Studies

Greg Giberson

Utah State University Press, 2022

Until now there has been little consideration of the intellectual and historical impact editors have had on the young and ever-evolving field of writing studies. Behind the Curtain of Scholarly Publishing provides new and seasoned scholars with behind-the-scenes explorations and expositions of the history of scholarly editing and the role of the scholarly editor from the perspectives of current and former editors from important publications within the field.
 
Each chapter in the collection examines the unique experiences and individual contributions of its authors during their time as editors, offering advice to scholars and potential editors on how to navigate the publication process and understand editorial roles. The contributors provide multiple perspectives on the growth, transformation, and, in some cases, founding of some of the most influential publishing venues in writing studies.
 
The personal and historical narratives, along with the unique perspectives and insightful analyses of the individual authors in Behind the Curtain of Scholarly Publishing, offer needed transparency and context to what has historically been an opaque, yet inevitable and consequential, part of academic life. This volume will help researchers in the field understand the publishing process.
 
Contributors: Cheryl Ball, David Bartholomae, Charles Bazerman, Jean Ferguson Carr, Douglas Eyman, Muriel Harris, Byron Hawk, Alice Horning, Paul Kei Matsuda, Laura Micciche, Mike Palmquist, Michael Pemberton, Malea Powell, Kelly Ritter, Victor Villanueva, Victor Vitanza, Kathleen Blake Yancey
 
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cover of Being a Minor Writer

Being a Minor Writer

Gail Gilliland

University of Iowa Press, 1994

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

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cover of Beyond Conversation: Collaboration and the Production of Writing

Beyond Conversation

Collaboration and the Production of Writing

William Duffy

Utah State University Press, 2020

Collaboration was an important area of study in writing for many years, but interest faded as scholars began to assume that those working within writing studies already “got it.” In Beyond Conversation, William Duffy revives the topic and connects it to the growing interest in collaboration within digital and materialist rhetoric to demonstrate that not only do the theory, pedagogy, and practice of collaboration need more study but there is also much to be learned from the doing of collaboration.
 
While interrogating the institutional politics that circulate around debates about collaboration, this book offers a concise history of collaborative writing theory while proposing a new set of commonplaces for understanding the labor of coauthorship. Specifically, Beyond Conversation outlines an interactionist theory that explains collaboration as the rhetorical capacity that manifests in the discursive engagements coauthors enter into with the objects of their writing.
Drawing on new materialist philosophies, post-qualitative inquiry, and interactionist rhetorical theory, Beyond Conversation challenges writing and literacy educators to recognize the pedagogical benefits of collaborative writing in the work they do both as writers and as teachers of writing. The book will reinvigorate how teachers, scholars, and administrators advocate for the importance of collaborative writing in their work.
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cover of Beyond Productivity: Embodied, Situated, and (Un)Balanced Faculty Writing Processes

Beyond Productivity

Embodied, Situated, and (Un)Balanced Faculty Writing Processes

Kim Hensley Owens

Utah State University Press, 2023

In Beyond Productivity, a wide range of contributors share honest narratives of the sometimes-impossible conditions that scholars face when completing writing projects. The essays provide backstage views of the authors' varying approaches to moving forward when the desire to produce wanes, when deciding a project is not working, when working within and around and redefining academic productivity expectations, and when writing with ever-changing bodies that do not always function as expected. 

This collection positions scholarly writers' ways of writing as a form of flexible, evolving knowledge. By exhibiting what is lost and gained through successive rounds of transformation and adaptation over time, the contributors offer a sustainable understanding and practice of process—one that looks beyond productivity as the primary measure of success. Each presents a fluid understanding of the writing process, illustrating its deeply personal nature and revealing how fragmented and disjointed methods and experiences can highlight what is precious about writing. 

Beyond Productivity determines anew the use and value of scholarly writing and the processes that produce it, both within and beyond the context of the losses, constraints, and adaptations associated with the COVID-19 pandemic. 
 
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cover of Blessed Are the Peacemakers: Small Histories during World War II, Letter Writing, and Family History Methodology

Blessed Are the Peacemakers

Small Histories during World War II, Letter Writing, and Family History Methodology

Suzanne Kesler Rumsey

University of Alabama Press, 2021

Where family letters become history, and ordinary lives reveal the untold story of World War II.

In the summer of 2013, Suzanne Kesler Rumsey discovered hundreds of letters exchanged between her late grandparents, Miriam and Benjamin Kesler. The letters, written between 1941 and 1946, were filled with typical wartime sentiments: love and longing, anguish at being apart, uncertainty about the war and the country’s future, and attempts at humor to keep their spirits up. What is unusual about their story is that Ben Kesler was not writing from a theater of war. Instead, Ben, a member of the Dunkard Brethren Church, was a conscientious objector. He, along with about 12,000 other men, opted to join the Civilian Public Service (CPS) and contribute to “work of national importance” at one of the 218 CPS camps around the country.

In Blessed Are the Peacemakers: Small Histories during World War II, Letter Writing, and Family History Methodology, Rumsey has mined not only her grandparents’ letters but also archival research on CPS camps and historical data from several Mennonite and Brethren archives to recapture the narrative of Ben’s service at two different camps and of Miriam’s struggle to support herself and her husband financially at the young age of seventeen. Ben and Miriam’s life during the war was extraordinarily ordinary, spanning six years of unrecognized and humble work for their country. Ben was not compensated for his work in the camps, and Miriam stayed home and worked as a day laborer, as a live-in maid, as a farmhand, and in the family butcher shop in order to earn enough money to support them both. Small histories like that of her grandparents, Rumsey argues, provide a unique perspective on significant political and historical moments.

Blessed Are the Peacemakers also explores the rhetorical functions of letter writing as well as the methodology of family history writing. Ben and Miriam’s letters provide an apt backdrop to examine the genre, a relatively understudied mode of literacy. Rumsey situates the young couple’s correspondence within ars dictaminis, the art of letter writing, granting new insights into the genre and how personal accounts shape our understanding of historical events.
 

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cover of Blue Notes: Essays, Interviews, and Commentaries

Blue Notes

Essays, Interviews, and Commentaries

Yusef Komunyakaa

University of Michigan Press, 2000

Blue Notes offers an assortment of poet Yusef Komunyakaa's writing on contemporary poetry and music. The book is arranged in four sections. The first gathers essays on the work of poets and blues and jazz musicians influential to Komunyakaa's work, from Langston Hughes and Etheridge Knight to Ma Rainey and Thelonious Monk; the second collects a gallery of Komunyakaa's poems and the poet's commentary about each of them. The third selects interviews that reveal the development of the poet's aesthetic sensibility. The final section consists of four artistic explorations that reflect the poet's current interests. Two of of these texts, "Tenebrae" and "Buddy's Monologue," have been recently performed.
As editor Radiclani Clytus makes clear in the volume's introductory essay, although Komunyakaa's poetry has its roots in the stylistic innovations of early twentieth-century American modernists, his writing often reflects his understanding that a "black" experience should not particularize the presentation of one's art. This volume, according to the editor, is an attempt to understand Komunyakaa's critical eclecticism within the context of his own words.
Yusef Komunyakaa's books of poetry include I Apologize for the Eyes in My Head, Magic City, Thieves of Paradise, and Neon Vernacular, for which he received the Pulitzer Prize and the Kingsley Tufts Poetry Award in 1994.
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cover of Blue Studios: Poetry and Its Cultural Work

Blue Studios

Poetry and Its Cultural Work

Rachel Blau DuPlessis

University of Alabama Press, 2006

Examines the work of experimental poets and the innovative forms they create to disrupt assumptions about gender and cultural power
 
In her now-classic The Pink Guitar, Rachel Blau DuPlessis examined a number of modern and contemporary poets and artists to explore the possibility of finding a language that would question deeply held assumptions about gender. In the 12 essays and introduction that constitute Blue Studios, DuPlessis continues that task, examining the work of experimental poets and the innovative forms they have fashioned to challenge commonplace assumptions about gender and cultural authority.
 
The essays in “Attitudes and Practices” deal with two questions: what a feminist reading of cultural texts involves, and the nature of the essay itself as a mode of knowing: how poetry can be discursive and how the essay can be poetic. The goal of “Marble Paper,” with its studies of William Wordsworth, Ezra Pound, and Charles Olson is to suggest terms for a “feminist history of poetry.”
 
“Perspectives must be fashioned that displace and estrange the world,” Theodore Adorno wrote, and in the section "Urrealism" DuPlessis examines the work of poets from several schools (the Objectivists, the New York School, the surrealists) whose work embodies that displacement, among them George Oppen, Lorine Niedecker, H.D., and Barbara Guest. These writers’ radical deployment of line, sound, and structure, DuPlessis argues, demonstrate poetry’s power not as a purely literary, artistic, or aesthetic force but as a rhetorical form intricately tied to issues of power and ethics. And in "Migrated Into,” the author probes the ways these issues have informed her, as a poet and a critic; how the political has “migrated into” and suffused her own work; and how the practice of poetry can be an arousal to a deeper understanding of what we stand for.
 
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cover of Book of Abraham Apologetics: A Review and Critique

Book of Abraham Apologetics

A Review and Critique

Dan Vogel

Signature Books, 2021

Said to have been dictated by Joseph Smith as a translation of an ancient Egyptian scroll purchased in Kirtland, Ohio, in 1835, the Book of Abraham may be Mormonism’s most controversial scripture. Decades of impassioned discussion began when about a dozen fragments of Smith’s Egyptian papyri, including a facsimile from the Book of Abraham, were found in the New York Metropolitan Museum in 1966. The discovery solved a mystery about the origin of the Egyptian characters that appear in the various manuscript copies of the Book of Abraham from 1835, reproduced from one of the fragments. Some LDS scholars devised arguments to explain what seemed to be clear evidence of Smith’s inability to translate Egyptian. In this book, Dan Vogel not only highlights the problems with these apologetic arguments but explains the underlying source documents in revealing detail and clarity.
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cover of Bringing the Devil to His Knees: The Craft of Fiction and the Writing Life

Bringing the Devil to His Knees

The Craft of Fiction and the Writing Life

Charles Baxter and Peter Turchi, Editors

University of Michigan Press, 2001

In Bringing the Devil to His Knees: The Craft of Fiction and the Writing Life, seventeen award-winning writers--all expert teachers--share the secrets of creating compelling, imaginative stories and novels. A combination handbook, writer's companion, and collection of spirited personal essays, the book is filled with specific examples, hard-won wisdom, and compassionate guidance for the developing or experienced fiction writer.
Each of the contributors is a current or former lecturer at the Warren Wilson College MFA Program for Writers, one of the most highly respected writing programs in the country. Included are essays by Charles Baxter, Robert Boswell, Karen Brennan, Judith Grossman, Ehud Havazelet, C. J. Hribal, Margot Livesey, Michael Martone, Kevin McIlvoy, Pablo Medina, Antonya Nelson, Susan Neville, Richard Russo, Steven Schwartz, Jim Shepard, Joan Silber, Debra Spark, Peter Turchi, and Chuck Wachtel.
Rich with masterful examples and personal anecdotes, these imaginative essays provide hard-earned insight into a writer's work. The book will interest not only those seeking inspiration and guidance to become stronger writers, but also readers of contemporary literary fiction, who will find a number of surprising and original approaches to the writer's work by award-winning practitioners adept at teaching others what they know.
Charles Baxter is author of several novels, including The Feast of Love, Shadow Play, and First Light. and collections of stories including Believers and A Relative Stranger. He teaches writing at the University of Michigan. Peter Turchi is author of the novel The Girls Next Door, a collection of stories, Magician, and a book of non-fiction, The Pirate Prince. He is Director of the MFA Program for Writers, Warren Wilson College.
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cover of But Can I Start a Sentence with "But"?: Advice from the Chicago Style Q&A

But Can I Start a Sentence with "But"?

Advice from the Chicago Style Q&A

The University of Chicago Press Editorial Staff

University of Chicago Press, 2016

Q. Is it “happy medium” or “happy median”? My author writes: “We would all be much better served as stewards of finite public funds if we could find that happy median where trust reigns supreme.” Thanks!
A. The idiom is “happy medium,” but I like the image of commuters taking refuge from road rage on the happy median.
Q. How do I write a title of a song in the body of the work (caps, bold, underline, italics, etc.)? Example: The Zombies’ “She’s Not There” looped in his head.
A. Noooo! Now that song is looping in my head (“but it’s too late to say you’re sorry . . .”). Use quotation marks. Thanks a lot.
 
Every month, tens of thousands of self-declared word nerds converge upon a single site: The Chicago Manual of Style Online's Q&A. There the Manual’s editors open the mailbag and tackle readers’ questions on topics ranging from abbreviation to word division to how to reform that coworker who still insists on two spaces between sentences. Champions of common sense, the editors offer smart, direct, and occasionally tongue-in-cheek responses that have guided writers and settled arguments for more than fifteen years.

But Can I Start a Sentence with “But”? brings together the best of the Chicago Style Q&A. Curated from years of entries, it features some of the most popular—and hotly debated—rulings and also recovers old favorites long buried in the archives.

Questions touch on myriad matters of editorial style—capitalization, punctuation, alphabetizing, special characters—as well as grammar, usage, and beyond (“How do I spell out the sound of a scream?”). A foreword by Carol Fisher Saller, the Q&A’s longtime editor, takes readers through the history of the Q&A and addresses its reputation for mischief. (“It’s not that we set out to be cheeky,” she writes.)

Taken together, the questions and answers offer insights into some of the most common issues that face anyone who works with words. They’re also a comforting reminder that even the best writer or editor needs a little help—and humor—sometimes.
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