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Warns against common errors in structure, style, and diction, and explains the fundamentals of conducting interviews and writing travel, scientific, sports, critical, and humorous articles.
This is an essential book for everyone who wants to write clearly about any subject and use writing as a means of learning.
For anyone who enjoys reading memoirs—or is thinking about writing one—this collection offers a master class from nine distinguished authors, including Annie Dillard, Frank McCourt, and others. The events, memories, and emotions of the past often resist the orderly structure of a book. Inventing the Truth offers wisdom from nine notable memoirists about their process (Ian Frazier searched through generations of family papers to understand his parents' lives), the hurdles they faced (Annie Dillard tackles the central dilemma of memoir: what to put in and what to leave out), and the unexpected joys of bringing their pasts to the page. Featured authors include Russell Baker on Growing Up; Jill Ker Conway on The Road from Coorain; Annie Dillard on An American Childhood; Ian Frazier on Family; Henry Louis Gates Jr. on Colored People; Alfred Kazin on A Walker in the City; Frank McCourt on Angela's Ashes; Toni Morrison on Beloved; and Eileen Simpson on Poets in Their Youth.
Profiles the jazz duo of Willie Ruff and Dwike Mitchell, following their careers from the small Southern towns where they were born, through the years of study with caring teachers, to their ultimate success.
“William Zinsser turns his zest, warmth and curiosity—his sharp but forgiving eye—on his own story. The result is lively, funny and moving, especially for anyone who cares about art and the business of writing well.” —Evan Thomas, Newsweek In Writing Places, William Zinsser—the author of On Writing Well, the bestseller that has inspired two generations of writers, journalists, and students—recalls the many colorful and instructive places where he has worked and taught. Gay Talese, author of A Writer’s Life, calls Writing Places, “Wonderful,” while the Pittsburgh Post-Gazette praises this unique memoir for possessing “all the qualities that Zinsser believes matter most in good writing—clarity, brevity, simplicity and humanity.”
Provides advice on writing about science, sports, travel, and other nonfiction subjects.
This book charts the unsettled media cultures and deep time of shellac, retracing its journey from the visual to the sonic, and back again. Each chapter unveils a situated moment in the long history of shellac – travelling from its early visual culture to Emile Berliner’s discovery of its auditory properties through to its recycling in contemporary art and design practices. Unforeseen correspondences between artefacts as diverse as mirrors, seals, gramophone discs and bombs are revealed. With its combinatory approach and commitment to material thinking, Shellac in Visual and Sonic Culture insists on moments of contact, encounter, and transformation. The book notably addresses the colonial unconscious underpinning the early transnational recording industry, highlighting the multiple gestures and forms of labour entombed within the production of the 78rpm disc. Roy explores shellac as a concrete substance, as well as the malleable stuff of which stories, histories and modern imaginings were made – and unmade.