Advertisement
| degree creative writing nyt: The Most Fun We Ever Had Claire Lombardo, 2019-06-25 NEW YORK TIMES BEST SELLER • “A gripping and poignant ode to a messy, loving family in all its glory.” —Madeline Miller, bestselling author of Circe In this “rich, complex family saga” (USA Today) full of long-buried family secrets, Marilyn Connolly and David Sorenson fall in love in the 1970s, blithely ignorant of all that awaits them. By 2016, they have four radically different daughters, each in a state of unrest. Wendy, widowed young, soothes herself with booze and younger men; Violet, a litigator turned stay-at-home-mom, battles anxiety and self-doubt; Liza, a neurotic and newly tenured professor, finds herself pregnant with a baby she's not sure she wants by a man she's not sure she loves; and Grace, the dawdling youngest daughter, begins living a lie that no one in her family even suspects. With the unexpected arrival of young Jonah Bendt—a child placed for adoption by one of the daughters fifteen years before—the Sorensons will be forced to reckon with the rich and varied tapestry of their past. As they grapple with years marred by adolescent angst, infidelity, and resentment, they also find the transcendent moments of joy that make everything else worthwhile. |
| degree creative writing nyt: The Program Era Mark McGurl, 2011-11-30 In The Program Era, Mark McGurl offers a fundamental reinterpretation of postwar American fiction, asserting that it can be properly understood only in relation to the rise of mass higher education and the creative writing program. McGurl asks both how the patronage of the university has reorganized American literature and—even more important—how the increasing intimacy of writing and schooling can be brought to bear on a reading of this literature. McGurl argues that far from occasioning a decline in the quality or interest of American writing, the rise of the creative writing program has instead generated a complex and evolving constellation of aesthetic problems that have been explored with energy and at times brilliance by authors ranging from Flannery O’Connor to Vladimir Nabokov, Philip Roth, Raymond Carver, Joyce Carol Oates, and Toni Morrison. Through transformative readings of these and many other writers, The Program Era becomes a meditation on systematic creativity—an idea that until recently would have seemed a contradiction in terms, but which in our time has become central to cultural production both within and beyond the university. An engaging and stylishly written examination of an era we thought we knew, The Program Era will be at the center of debates about postwar literature and culture for years to come. |
| degree creative writing nyt: The Lost Get-Back Boogie James Lee Burke, 2021-06-15 This first novel by New York Times bestselling author Burke--a long-out-of-print Pulitzer Prize winner---tells the story of a Korean war veteran and ex-con who tries to put the past behind him, even as he becomes embroiled in a heated political fight. Now available in this Premium Edition. |
| degree creative writing nyt: The Great American Education-Industrial Complex Anthony G. Picciano, Joel Spring, 2013-05-07 The Great American Education-Industrial Complex examines the structure and nature of national networks and enterprises that seek to influence public education policy in accord with their own goals and objectives. In the past twenty years, significant changes have taken place in the way various interest groups seek to influence policies and practices in public education in the United States. No longer left to the experience and knowledge of educators, American education has become as much the domain of private organizations, corporate entities, and political agents who see it as a market for their ideas, technologies, and ultimately profits. Piccciano and Spring posit that educational technology is the vehicle whereby these separate movements, organizations, and individuals have become integrated in a powerful common entity, and detail how the educational-industrial complex has grown and strengthened its position of influence. This timely, carefully documented, well argued book brings together Picciano’s perspective and expertise in the field of technology and policy issues and Spring’s in the history and politics of education in a unique critical analysis of the education-industrial complex and its implications for the future. |
| degree creative writing nyt: Creative Writing Practice Debra Adelaide, Sarah Attfield, 2021-10-09 Creative Writing Practice: reflections on form and process explores the craft of creative writing by illuminating the practices of writers and writer-educators. Demonstrating solutions to problems in different forms and genres, the contributors draw on their professional and personal experiences to examine specific and practical challenges that writers must confront and solve in order to write. This book discusses a range of approaches to writing, such as the early working out of projects, the idea of experimentation, of narrative time, and of failure. With its strong focus on process, Creative Writing Practice is a valuable guide for students, scholars and practitioners of creative writing. |
| degree creative writing nyt: MFA Vs NYC Chad Harbach, 2014-02-25 Writers write—but what do they do for money? In a widely read essay entitled MFA vs NYC, bestselling novelist Chad Harbach (The Art of Fielding) argued that the American literary scene has split into two cultures: New York publishing versus university MFA programs. This book brings together established writers, MFA professors and students, and New York editors, publicists, and agents to talk about these overlapping worlds, and the ways writers make (or fail to make) a living within them. Should you seek an advanced degree, or will workshops smother your style? Do you need to move to New York, or will the high cost of living undo you? What's worse—having a day job or not having health insurance? How do agents decide what to represent? Will Big Publishing survive? How has the rise of MFA programs affected American fiction? The expert contributors, including George Saunders, Elif Batuman, and Fredric Jameson, consider all these questions and more, with humor and rigor. MFA vs NYC is a must-read for aspiring writers, and for anyone interested in the present and future of American letters. |
| degree creative writing nyt: I'll Tell You Mine Hope Edelman, Robin Hemley, 2015-11-19 The University of Iowa is a leading light in the writing world. In addition to the Iowa Writers’ Workshop for poets and fiction writers, it houses the prestigious Nonfiction Writing Program (NWP), which was the first full-time masters-granting program in this genre in the United States. Over the past three decades the NWP has produced some of the most influential nonfiction writers in the country. I’ll Tell You Mine is an extraordinary anthology, a book rooted in Iowa’s successful program that goes beyond mere celebration to present some of the best nonfiction writing of the past thirty years. Eighteen pieces produced by Iowa graduates exemplify the development of both the program and the field of nonfiction writing. Each is accompanied by commentary from the author on a challenging issue presented by the story and the writing process, including drafting, workshopping, revising, and listening to (or sometimes ignoring) advice. The essays are put into broader context by a prologue from Robert Atwan, founding editor of the Best American Essays series, who details the rise of nonfiction as a literary genre since the New Journalism of the 1960s. Creative nonfiction is the fastest-growing writing concentration in the country, with more than one hundred and fifty programs in the United States. I’ll Tell You Mine shows why Iowa’s leads the way. Its insider’s view of the Iowa program experience and its wealth of groundbreaking nonfiction writing will entertain readers and inspire writers of all kinds. |
| degree creative writing nyt: The Literary Mafia Josh Lambert, 2022-07-26 An investigation into the transformation of publishing in the United States from a field in which Jews were systematically excluded to one in which they became ubiquitous “From the very first page, this book is funnier and more gripping than a book on publishing has any right to be. Anyone interested in America’s intellectual or Jewish history must read this, and anyone looking for an engrossing story should.”—Emily Tamkin, author of Bad Jews In the 1960s and 1970s, complaints about a “Jewish literary mafia” were everywhere. Although a conspiracy of Jews colluding to control publishing in the United States never actually existed, such accusations reflected a genuine transformation from an industry notorious for excluding Jews to one in which they arguably had become the most influential figures. Josh Lambert examines the dynamics between Jewish editors and Jewish writers; how Jewish women exposed the misogyny they faced from publishers; and how children of literary parents have struggled with and benefited from their inheritances. Drawing on interviews and tens of thousands of pages of letters and manuscripts, The Literary Mafia offers striking new discoveries about celebrated figures such as Lionel Trilling and Gordon Lish, and neglected fiction by writers including Ivan Gold, Ann Birstein, and Trudy Gertler. In the end, we learn how the success of one minority group has lessons for all who would like to see American literature become more equitable. |
| degree creative writing nyt: How Does That Make You Feel? Sherry Amatenstein, 2016-09-13 How Does That Make You Feel? obliterates the boundaries between the shrink and the one being shrunk with unabashedly candid writers breaking confidentiality and telling all about their experiences in therapy. This revelatory, no-punches-pulled book brings to light both sides of the “relationship” between therapist and client—a bond that can feel pure and profound, even if it is, at times, illusory. Contributors include an array of essayists, authors, TV/film writers and therapists, including Patti Davis, Beverly Donofrio, Royal Young, Molly Peacock, Susan Shapiro, Charlie Rubin, Estelle Erasmus, and Dennis Palumbo. Full list of contributors: Sherry Amatenstein Laura Bogart Martha Crawford Patti Davis Megan Devine Beverly Donofrio Janice Eidus Estelle Erasmus Juli Fraga Nina Gaby Mindy Greenstein Jenine Holmes Diane Josefowicz Jean Kim Amy Klein Binnie Klein Anna March Allison McCarthy Kurt Nemes Dennis Palumbo Molly Peacock Pamela Rafalow Grossman Charlie Rubin Jonathan Schiff Barbara Schoichet Adam Sexton Susan Shapiro Beth Sloan Eve Tate Kate Walter Priscilla Warner Linda Yellin Royal Young Jessica Zucker |
| degree creative writing nyt: Because I Was a Girl Melissa de la Cruz, 2017-10-03 Because I Was a Girl is an inspiring collection of true stories by women and girls about the obstacles, challenges, and opportunities they've faced...because of their gender. Edited by #1 New York Times-bestselling author Melissa de la Cruz, the book is the perfect gift for girls of all ages to celebrate the accomplishments of these women and girls who overcame adversity with their limitless potential. The collection includes writings from an impressive array of girls and women who are trailblazers in their fields, including bestselling authors Victoria Aveyard, Libba Bray, and Margaret Stohl; industry pioneers like Dolores Huerta, Trish McEvoy, and Holly Knight; renowned chef Katie Button; aerospace and mechanical engineer Emily Calandrelli; and many more. Because I Was a Girl features powerful stories from: Elizabeth Acevedo Katrina Adams Victoria Aveyard Bonnie Bartlett Brenda Bowen Libba Bray Katie Button Emily Calandrelli Babette Davis Williabell Jones Davis Melissa de la Cruz Abby Falik Jena Friedman Joan Hanawi Jane Hawley Tina Hay Jody Houser Dolores Huerta Zareen Jaffery Anjanette Johnston Mattie Johnston Holly Knight Jill Lorie Zoey Luna Trish McEvoy Loretta Miranda Gloria Molina Susan Morrison Anna Ponder Margaret Semrud-Clikeman Rebecca Soffer Cheri Steinkellner Margaret Stohl Noor Tagouri Tillie Walden Quvenzhane Wallis Francesca Zambello Lenore Zion |
| degree creative writing nyt: The Only Pirate at the Party Lindsey Stirling, Brooke S. Passey, 2016-01-12 Dancing electronic violinist Lindsey Stirling shares her unconventional journey in an inspiring New York Times bestselling memoir filled with the energy, persistence, and humor that have helped her successfully pursue a passion outside the box. A classically trained musician gone rogue, Lindsey Stirling is the epitome of independent, millennial-defined success: after being voted off the set of America’s Got Talent, she went on to amass more than ten million social media fans, record two full-length albums, release multiple hits with billions of YouTube views, and to tour sold-out venues across the world. Lindsey is not afraid to be herself. In fact, it’s her confidence and individuality that have propelled her into the spotlight. But the road hasn’t been easy. After being rejected by talent scouts, music reps, and eventually on national television, Lindsey forged her own path, step by step. Detailing every trial and triumph she has experienced until now, Lindsey shares stories of her humble yet charmed childhood, humorous adolescence, life as a struggling musician, personal struggles with anorexia, and finally, success as a world-class entertainer. Lindsey’s magnetizing story—at once remarkable and universal—is a testimony that there is no singular recipe for success, and despite what people may say, sometimes it’s okay to be The Only Pirate at the Party. |
| degree creative writing nyt: The Secret Diary of a Prisoner in the Creative Writing Gulag Mark Pritchard, 2013-12-21 The diary of an unhappy novelist who must teach creative writing classes and workshops to survive. Only one person meets her high expectations -- her cold, severe, Japanese piano teacher, whom it seems she can never please. |
| degree creative writing nyt: Can Creative Writing Really Be Taught? Stephanie Vanderslice, Rebecca Manery, 2017-07-13 Revised and updated throughout, this 10th-anniversary edition of Can Creative Writing Really Be Taught? is a significantly expanded guide to key issues and practices in creative writing teaching today. Challenging the myths of creative writing teaching, experienced and up-and-coming teachers explore what works in the classroom and workshop and what does not. Now brought up-to-date with new issues that have emerged with the explosion of creative writing courses in higher education, the new edition includes: · Guides to and case studies of workshop practice · Discussions on grading and the myth of “the easy A” · Explorations of the relationship between reading and writing · A new chapter on creative writing research · A new chapter on games, fan-fiction and genre writing · New chapters on identity and activism |
| degree creative writing nyt: The New York Times Magazine , 2002 |
| degree creative writing nyt: Encyclopedia of Life Writing Margaretta Jolly, 2013-12-04 First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company. |
| degree creative writing nyt: Writing to Persuade: How to Bring People Over to Your Side Trish Hall, 2019-06-11 From the former New York Times Op-Ed page editor, a definitive and entertaining resource for writers of every stripe on the neglected art of persuasion. In the tradition of The Elements of Style comes Trish Hall’s essential new work on writing well—a sparkling instructional guide to persuading (almost) anyone, on (nearly) anything. As the person in charge of the Op-Ed page for the New York Times, Hall spent years immersed in argument, passion, and trendsetting ideas—but also in tangled sentences, migraine-inducing jargon, and dull-as-dishwater writing. Drawing on her vast experience editing everyone from Nobel Prize winners and global strongmen (Putin) to first-time pundits (Angelina Jolie), Hall presents the ultimate guide to writing persuasively for students, job applicants, and rookie authors looking to get published. She sets out the core principles for connecting with readers—laid out in illuminating chapters such as “Cultivate Empathy,” “Abandon Jargon,” and “Prune Ruthlessly.” Combining boisterous anecdotes with practical advice (relayed in “tracked changes” bubbles), Hall offers an infinitely accessible primer on the art of effectively communicating above the digital noise of the twenty-first century. |
| degree creative writing nyt: Global Wallace Lucas Thompson, 2016-12-01 David Foster Wallace is invariably seen as an emphatically American figure. Lucas Thompson challenges this consensus, arguing that Wallace's investments in various international literary traditions are central to both his artistic practice and his critique of US culture. Thompson shows how, time and again, Wallace's fiction draws on a diverse range of global texts, appropriating various forms of world literature in the attempt to craft fiction that critiques US culture from oblique and unexpected vantage points. Using a wide range of comparative case studies, and drawing on extensive archival research, Global Wallace reveals David Foster Wallace's substantial debts to such unexpected figures as Jamaica Kincaid, Julio Cortázar, Jean Rhys, Octavio Paz, Leo Tolstoy, Zbigniew Herbert, and Albert Camus, among many others. It also offers a more comprehensive account of the key influences that Wallace scholars have already perceived, such as Fyodor Dostoevsky, Franz Kafka, and Manuel Puig. By reassessing Wallace's body of work in relation to five broadly construed geographic territories -- Latin America, Russia, Eastern Europe, France, and Africa -- the book reveals the mechanisms with which Wallace played particular literary traditions off one another, showing how he appropriated vastly different global texts within his own fiction. By expanding the geographic coordinates of Wallace's work in this way, Global Wallace reconceptualizes contemporary American fiction, as being embedded within a global exchange of texts and ideas. |
| degree creative writing nyt: Asian American Literature Keith Lawrence, 2021-08-25 Asian American Literature: An Encyclopedia for Students is an invaluable resource for students curious to know more about Asian North American writers, texts, and the issues and drives that motivate their writing. This volume collects, in one place, a breadth of information about Asian American literary and cultural history as well as the authors and texts that best define it. A dozen contextual essays introduce fundamental elements or subcategories of Asian American literature, expanding on social and literary concerns or tensions that are familiar and relevant. Essays include the origins and development of the term Asian American; overviews of Asian American and Asian Canadian social and literary histories; essays on Asian American identity, gender issues, and sexuality; and discussions of Asian American rhetoric and children's literature. More than 120 alphabetical entries round out the volume and cover important Asian North American authors. Historical information is presented in clear and engaging ways, and author entries emphasize biographical or textual details that are significant to contemporary young adults. Special attention has been given to pioneering authors from the late 19th century through the early 1970s and to influential or well-known contemporary authors, especially those likely to be studied in high school or university classrooms. |
| degree creative writing nyt: The Scholarship of Creative Writing Practice Marshall Moore, Sam Meekings, 2024-01-25 The first study to explore deeply and intimately the complex and multifaceted nature of creative writing practice, The Scholarship of Creative Writing and Practice offers a new route in scholarly inquiry for creative writing studies, probing beyond pedagogical methods (with which most of the field's scholarship is occupied) to explore the writing life as it is experienced by a wealth of international writer/academics. With academic creative writing programs beginning to adopt a more pragmatic, industry-focused stance, students of writing increasingly need and expect to complete their degrees moderately prepared to monetize the skills they have learned so there is now more than ever a great responsibility to present studies, methodologies and experience that can inform students and instructors. In response, Sam Meekings and Marshall Moore have pulled together academic investigations from some of the most prominent names in creative writing studies to take stock of the diverse definitions and pluralities of creative practice, to examine how they have carved out a 'writing life', what work habits they have adopted to achieve this, how these practitioners work as creatives both within and outside of the academy and to put forward strategies for a viable writing life. Offering intelligent, philosophical, pragmatic and actionable methods for robust writing practice, this book provides a multi-national perspective on the various aspects of practice and process. Essays explore what writing practice means for individuals and how this can be modeled for students; how the mythic nature of creativity can be channeled though practical working habits; practice through the lenses of social responsibility, sensitivity, empathy and imagination; writing during times of duress and the barriers writers encounter in their craft; the demand of author platforms; the role of the creative writing academic/writer; and the process of learning from published and practicing authors. Wide-ranging in its investigations and generous in insight, The Scholarship of Creative Writing and Practice presents creative, imaginative and transdisciplinary approaches to this under-researched area. |
| degree creative writing nyt: New York Times Saturday Book Review Supplement , 1995-06 |
| degree creative writing nyt: Against Creative Writing Andrew Cowan, 2022-09-13 The rise of Creative Writing has been accompanied from the start by two questions: can it be taught, and should it be taught? This scepticism is sometimes shared even by those who teach it, who often find themselves split between two contradictory identities: the artistic and the academic. Against Creative Writing explores the difference between ‘writing’, which is what writers do, and Creative Writing, which is the instrumentalisation of what writers do. Beginning with the question of whether writing can or ought to be taught, it looks in turn at the justifications for BA, MA, and PhD courses, and concludes with the divided role of the writer who teaches. It argues in favour of Creative Writing as a form of hands-on literary education at undergraduate level and a form of literary apprenticeship at graduate level, especially in widening access to new voices. It argues against those forms of Creative Writing that lose sight of literary values – as seen in the proliferation of curricular couplings with non-literary subjects, or the increasing emphasis on developing skills for future employment. Against Creative Writing, written by a writer, is addressed to other writers, inside or outside the academy, at undergraduate or graduate level, whether ‘creative’ or ‘critical’. |
| degree creative writing nyt: Teaching Creative Writing in Asia Darryl Whetter, 2021-08-26 This book examines the dynamic landscape of creative educations in Asia, exploring the intersection of post-coloniality, translation, and creative educations in one of the world’s most relevant testing grounds for STEM versus STEAM educational debates. Several essays attend to one of today’s most pressing issues in Creative Writing education, and education generally: the convergence of the former educational revolution of Creative Writing in the anglophone world with a defining aspect of the 21st-century—the shift from monolingual to multilingual writers and learners. The essays look at examples from across Asia with specific experience from India, Singapore, China, Hong Kong, the Philippines and Taiwan. Each of the 14 writer-professor contributors has taught Creative Writing substantially in Asia, often creating and directing the first university Creative Writing programs there. This book will be of interest to anyone following global trends within creative writing and those with an interest in education and multilingualism in Asia. |
| degree creative writing nyt: Literary Rebels Lise Jaillant, 2022-09-21 How many times have you heard that creative writing programmes are factories that produce the same kind of writers, isolated from real life? Only by escaping academia can writers be completely free. Universities are profoundly conservative places, designed to favour a certain way of writing-preferably informed by literary theory. Those who reject the creative/ critical discourse of academia are the true rebels, condemned to live (or survive) in a tough literary marketplace. Conformity is on the side of academia, the story goes, and rebellion is on the other side. This book argues against the notion that creative writing programmes are driven by conformity. Instead, it shows that these programmes in the United States and Britain were founded and developed by literary outsiders, who left an enduring mark on their discipline. To this day, creative writing occupies a marginal position in Anglo-American universities. The multiplication of new programmes, accompanied by rising student enrolments, has done nothing to change that positioning. As a discipline, creative writing strives on opposition to the mainstream university, while benefiting from what the university has to offer. Historically, this opposition to scholars was so virulent that it often led to the separation of creative writing and literature departments. The Iowa Writers' Workshop, founded in the 1930s, separated from the English department three decades later--and it still occupies a different building on campus, with little communication between writers and scholars. This model of institutional division is less common in Britain, where the discipline formally emerged in the late 1960s and early 1970s. But even when creative writing is located within literature departments, relationships with scholars remain uneasy. Creative writers and scholars are not, and have never been, natural bedfellows. |
| degree creative writing nyt: From a Certain Point of View Seth Dickinson, Hank Green, R. F. Kuang, Martha Wells, Kiersten White, 2020-11-12 Celebrate the legacy of The Empire Strikes Back with this exciting reimagining of the timeless film featuring new perspectives from forty acclaimed authors. On May 21, 1980, Star Wars became a true saga with the release of The Empire Strikes Back. In honor of the fortieth anniversary, forty storytellers re-create an iconic scene from The Empire Strikes Back through the eyes of a supporting character, from heroes and villains, to droids and creatures. From a Certain Point of View features contributions by bestselling authors and trendsetting artists: Austin Walker explores the unlikely partnership of bounty hunters Dengar and IG-88 as they pursue Han Solo. Hank Green chronicles the life of a naturalist caring for tauntauns on the frozen world of Hoth. Tracy Deonn delves into the dark heart of the Dagobah cave where Luke confronts a terrifying vision. Martha Wells reveals the world of the Ugnaught clans who dwell in the depths of Cloud City. Mark Oshiro recounts the wampa's tragic tale of loss and survival. Seth Dickinson interrogates the cost of serving a ruthless empire aboard the bridge of a doomed Imperial starship. Plus more hilarious, heartbreaking, and astonishing tales from: Tom Angleberger, Sarwat Chadda, S.A. Chakraborty, Mike Chen, Adam Christopher, Katie Cook, Zoraida Córdova, Delilah S. Dawson, Alexander Freed, Jason Fry, Christie Golden, Rob Hart, Lydia Kang, Michael Kogge, R. F. Kuang, C. B. Lee, Mackenzi Lee, John Jackson Miller, Michael Moreci, Daniel José Older, Amy Ratcliffe, Beth Revis, Lilliam Rivera, Cavan Scott, Emily Skrutskie, Karen Strong, Anne Toole, Catherynne M. Valente, Django Wexler, Kiersten White, Gary Whitta, Brittany N. Williams, Charles Yu, Jim Zub All participating authors have generously forgone any compensation for their stories. Instead, their proceeds will be donated to First Book-a leading nonprofit that provides new books, learning materials, and other essentials to educators and organizations serving children in need. To further celebrate the launch of this book and both companies' longstanding relationships with First Book, Penguin Random House will donate $100,000 to First Book and Disney/Lucasfilm will donate 100,000 children's books-valued at $1,000,000-to support First Book and their mission of providing equal access to quality education. |
| degree creative writing nyt: The New York Times Book Review , 1989-07 |
| degree creative writing nyt: Scott Turow Andrew F. Macdonald, Gina Macdonald, 2005-05-30 Scott Turow is a novelist, lawyer, and humanist who has fused his two passions, writing and the law, to create challenging novels that raise significant legal issues and test the justice of present laws. In all of his books, Turow reveals the moral ambiguities that afflict both accuser and accused, and challenges his readers to reconsider their preconceived notions of justice. Beginning with One-L, his first published work about the first-year law school experience, Turow continues to capture his readers' imaginations with books such as Presumed Innocent and Burden of Proof. |
| degree creative writing nyt: The Best American Travel Writing 2020 Jason Wilson, 2020-10-17 The year's best travel writing, as chosen by series editor Jason Wilson and guest editor Robert Macfarlane. Writing, reading, and dreaming about travel have surged, writes Robert MacFarlane in his introduction to the Best American Travel Writing 2020. From an existential reckoning in avalanche school, to an act of kindness at the Mexican-American border, to a moral dilemma at a Kenyan orphanage, the journeys showcased in this collection are as spiritual as they are physical. These stories provide not just remarkable entertainment, but also, as MacFarlane says, deep comfort, carrying hope, creating connections, transporting readers to other-worlds, and imagining alternative presents and alternative futures. The Best American Travel 2020 includes HEIDI JULAVITS - YIYUN LI - PAUL SALOPEK - LACY JOHNSON - EMMANUEL IDUMA - JON MOOALLEM - EMILY RABOTEAU and others |
| degree creative writing nyt: Dallas Noir David Hale Smith, 2013-10-14 Gritty all-new crime stories set in the bustling Texas city, by Ben Fountain, Kathleen Kent, James Hime, and many more. In a country with so many interesting cities, Dallas is often overlooked—except on November 22 every year. On that day in 1963, Dallas became American noir. This collection of crime stories takes its inspiration from the darker corners of everyday life in a city that many associate only with a historic assassination—or a glitzy TV show about oil fortunes and family feuds. Featuring brand-new stories by Kathleen Kent, Ben Fountain, James Hime, Harry Hunsicker, Matt Bondurant, Merritt Tierce, Daniel J. Hale, Emma Rathbone, Jonathan Woods, Oscar C. Peña, Clay Reynolds, Lauren Davis, Fran Hillyer, Catherine Cuellar, David Haynes, and J. Suzanne Frank. |
| degree creative writing nyt: Repetition and Race Amy C. Tang, 2016-05-02 Repetition and Race explores the literary forms and critical frameworks occasioned by the widespread institutionalization of liberal multiculturalism by turning to the exemplary case of Asian American literature. Whether beheld as model minorities or objects of racist love, Asian Americans have long inhabited the uneasy terrain of institutional embrace that characterizes the official antiracism of our contemporary moment. Repetition and Race argues that Asian American literature registers and responds to this historical context through formal structures of repetition. Forwarding a new, dialectical conception of repetition that draws together progress and return, motion and stasis, agency and subjection, creativity and compulsion, this book reinterprets the political grammar of four forms of repetition central to minority discourse: trauma, pastiche, intertextuality, and self-reflexivity. Working against narratives of multicultural triumph, the book shows how texts by Theresa Cha, Susan Choi, Karen Tei Yamashita, Chang-rae Lee, and Maxine Hong Kingston use structures of repetition to foreground moments of social and aesthetic impasse, suspension, or hesitation rather than instances of reversal or resolution. Reading Asian American texts for the way they allegorize and negotiate, rather than resolve, key tensions animating Asian American culture, Repetition and Race maps both the penetrating reach of liberal multiculturalism's disciplinary formations and an expanded field of cultural politics for minority literature. |
| degree creative writing nyt: Foreshadow Nova Ren Suma, Emily X.R. Pan, 2020-10-27 An anthology of short stories by new and up-and-coming YA authors featured in the online magazine Foreshadow, along with craft advice for writing YA from New York Times bestselling authors Nova Ren Suma and Emily X. R. Pan. |
| degree creative writing nyt: The New York Times Book Reviews 2000 New York Times Staff, 2001 This anthology examines Love's Labours Lost from a variety of perspectives and through a wide range of materials. Selections discuss the play in terms of historical context, dating, and sources; character analysis; comic elements and verbal conceits; evidence of authorship; performance analysis; and feminist interpretations. Alongside theater reviews, production photographs, and critical commentary, the volume also includes essays written by practicing theater artists who have worked on the play. An index by name, literary work, and concept rounds out this valuable resource. |
| degree creative writing nyt: Fishing's Greatest Misadventures Paul Diamond, 2008 Fishings Greatest Misadventures presents 25 larger-than-life true stories covering the spectrum of fish tales, from terrifying to comical to downright bizarre. Everyday fishermen, journalists, and pros tell their stories of freak accidents, fish attacks, sabotage, pranks, getting lost at sea, idiotic decisions, eerie incidents, and other jaw-dropping calamities. This book takes you from the freshwater to the sea with stories about every form of angling, from fly-casting for trout to noodling for catfish, and big game sport fishing to casting for the unknown. |
| degree creative writing nyt: The Poets & Writers Guide to MFA Programs , 2015 This essential handbook, revised and updated for 2010, provides everything you need to know about deciding where and how to apply to the best graduate creative writing programs for you. -The top programs in the United States. -How to decide where to apply. -Advice on preparing your application. -A look at PhD programs in writing. -Tips on becoming a teaching assistant. -How to get the most out of your MFA experience. A collection of articles edited by the staff of Poets & Writers Magazine, this handy resource includes straightforward advice from professionals in the literary field, additional resources to help you choose the best programs to apply to, and an application tracker to keep you organized throughout the process. |
| degree creative writing nyt: The New York Times Index , 2009 |
| degree creative writing nyt: Meat Eater Steven Rinella, 2012-09-04 From the #1 New York Times bestselling author and host of Netflix’s MeatEater comes “a unique and valuable alternate view of where our food comes from” (Anthony Bourdain). “Revelatory . . . With every chapter, you get a history lesson, a hunting lesson, a nature lesson, and a cooking lesson. . . . Meat Eater offers an overabundance to savor.”—The New York Times Book Review Meat Eater chronicles Steven Rinella’s lifelong relationship with nature and hunting through the lens of ten hunts, beginning when he was an aspiring mountain man at age ten and ending as a thirty-seven-year-old Brooklyn father who hunts in the remotest corners of North America. He tells of having a struggling career as a fur trapper just as fur prices were falling; of a dalliance with catch-and-release steelhead fishing; of canoeing in the Missouri Breaks in search of mule deer just as the Missouri River was freezing up one November; and of hunting the elusive Dall sheep in the glaciated mountains of Alaska. A thrilling storyteller, Rinella grapples with themes such as the role of the hunter in shaping America, the vanishing frontier, the ethics of killing, and the disappearance of the hunter himself as consumers lose their connection with the way their food finds its way to their tables. The result is a loving portrait of a way of life that is part of who we are—as humans and as Americans. |
| degree creative writing nyt: You Can't Make This Stuff Up Lee Gutkind, 2012-07-03 From the godfather behind creative nonfiction (Vanity Fair) comes this indispensable how-to for nonfiction writers of all levels and genres, reminiscent of Stephen King's fiction handbook On Writing (Kirkus). Whether you're writing a rags-to-riches tell-all memoir or literary journalism, telling true stories well is hard work. In You Can't Make This Stuff Up, Lee Gutkind, the go-to expert for all things creative nonfiction, offers his unvarnished wisdom to help you craft the best writing possible. Frank, to-the-point, and always entertaining, Gutkind describes and illustrates every aspect of the genre. Invaluable tools and exercises illuminate key steps, from defining a concept and establishing a writing process to the final product. Offering new ways of understanding the genre, this practical guidebook will help you thoroughly expand and stylize your work. |
| degree creative writing nyt: What We Talk about When We Talk about Creative Writing Anna Leahy, 2016-07-27 Marking the tenth anniversary of the New Writing Viewpoints series, this new book takes the concept of an edited collection to its extreme, pushing the possibilities of scholarship and collaboration. All authors in this book, including those who contributed to Power and Identity in the Creative Writing Classroom, which launched the series ten years ago, are proof that creative writing matters, that it can be rewarding over the long haul and that there exist many ways to do what we do as writers and as teachers. This book captures a wide swathe of ideas on pedagogy, on programs, on the profession and on careers. |
| degree creative writing nyt: The New York Times Biographical Service , 2001-05 A compilation of current biographical information of general interest. |
| degree creative writing nyt: Sex, Thugs, and Rock & Roll Todd Robinson, 2009-05-26 My fingers can't find the bullet holes. They're there, because they brought me down. Like a guitar riff sharp enough to slit a throat or the devil's amplifiers shrieking through the lonely night, this bonanza of blood and brawn rings with the vibe of the best new noir suspense. Culled from the net's most hardcore, award-winning site, these fresh, raw, and uncut stories pack a stiff punch. . . As long as she keeps calling me, there's hope. Hope is a dangerous thing. No matter where you turn--a pair of bisexual, ass-kicking Vikings on a slaughter trip; a sexy forty-something thief with angles as lethal as her curves; a porn-comic artist up against one deadly last laugh; a city's most savage gang under the gun and way out of time; or a south-of-the-borderland sleaze pit where everyone's a winner--no one gets out alive. . . Escape is a bitch. A man alone and on foot would have to be crazy to try. Apparently he was. Rev up for a speed-fueled hell-trip through the dark side, where a backbeat can kill, no scene falls short of badass, and the hooligans bay at the moon. . . This book is dripping so much blood and guts and marrow, it's impossible to read it in more than a single sitting. Be prepared to be shattered, shell-shocked and bruised, as Thuglit's emissaries continue to write wrongs that are very, very right. --Sarah Weinman Big Daddy Thug/Todd Robinson's writing has appeared in Plots With Guns, Danger City, Demolition, Out Of The Gutter, Pulp Pusher, Crimespree and Writers Digest's The Year's Best Writing 2003. He was nominated for a 2006 Derringer Award from the Short Mystery Fiction Society, and is the creator and chief editor of Thuglit.com. The stories he's edited for Thuglit.com have been nominated for several awards, including The Derringer and The Million Writer's Award, and been have been selected for The Best American Mystery Stories and Best Noir 2006. He lives and works in New York with his wife (Lady Detroit), a ferret named Matilda, and three freakin' cats. |
| degree creative writing nyt: Writing Creative Writing Rishma Dunlop, Daniel Scott Tysdal, Priscila Uppal, 2018-05-05 Essential and engaging essays about the joys and challenges of creative writing and teaching creative writing by a host of Canada’s leading writers. |
Degrees Symbol (°)
In mathematics, the degree symbol is used to represent an angle measured in degrees. The symbol is also used in physics to represent the unit of temperature: Fahrenheit.
Degree (angle) - Wikipedia
A degree (in full, a degree of arc, arc degree, or arcdegree), usually denoted by ° (the degree symbol), is a measurement of a plane angle in which one full rotation is 360 degrees. [4] It …
DEGREE Definition & Meaning - Merriam-Webster
The meaning of DEGREE is a step or stage in a process, course, or order of classification. How to use degree in a …
DEGREE Definition & Meaning | Dictionary.com
Degree definition: any of a series of steps or stages, as in a process or course of action; a point in any scale.. See examples of DEGREE used in a …
Degrees (Angles) - Math is Fun
We can measure Angles in Degrees. There are 360 degrees in one Full Rotation (one complete circle around). Angles can also be measured in Radians. (Note: "Degree" is also used …
Degrees Symbol (°)
In mathematics, the degree symbol is used to represent an angle measured in degrees. The symbol is also used in physics to represent the unit of temperature: Fahrenheit.
Degree (angle) - Wikipedia
A degree (in full, a degree of arc, arc degree, or arcdegree), usually denoted by ° (the degree symbol), is a measurement of a plane angle in which one full rotation is 360 degrees. [4] It is …
DEGREE Definition & Meaning - Merriam-Webster
The meaning of DEGREE is a step or stage in a process, course, or order of classification. How to use degree in a sentence.
DEGREE Definition & Meaning | Dictionary.com
Degree definition: any of a series of steps or stages, as in a process or course of action; a point in any scale.. See examples of DEGREE used in a sentence.
Degrees (Angles) - Math is Fun
We can measure Angles in Degrees. There are 360 degrees in one Full Rotation (one complete circle around). Angles can also be measured in Radians. (Note: "Degree" is also used for …
Degree symbol - Wikipedia
The degree symbol or degree sign, °, is a glyph or symbol that is used, among other things, to represent degrees of arc (e.g. in geographic coordinate systems), hours (in the medical field), …
Find Online College Degree Programs | BestColleges
Choose from the most popular majors, find a unique major, or customize an interdisciplinary degree. You can finish a bachelor’s degree in less than four years by choosing an accelerated …
DEGREE | English meaning - Cambridge Dictionary
DEGREE definition: 1. (an) amount or level of something: 2. a situation that involves varying levels of something…. Learn more.
Degree - definition of degree by The Free Dictionary
degree - an award conferred by a college or university signifying that the recipient has satisfactorily completed a course of study; "he earned his degree at Princeton summa cum laude"
Symbol, Conversion, Examples | Angle in Degrees - Cuemath
A degree, usually indicated by ° (degree symbol), is a measure of the angle. Angles can be of different measures or degrees such as 30°, 90°, 55°, and so on. To measure the degree of an …
