How does literature give voice to the political? In what ways does it articulate a political dimension? For Jules Vall�s (1832-1885), member of the Paris Commune of 1871 and editor of Le Cri du Peuple, author of the autobiographical trilogy, L'Enfant(1878), Le Bachelier(1881), and L'Insurg�(1886), the politics of literature is literally a matter of the voice, for it is inherent to the voice as matter: the grain of the voice, the physical trace of the voice in writing, the voice as a heterogeneous effect of writing. An indispensable work for all those interested in autobiographical voice and orality in literature, this study offers both a comprehensive theoretical reflection on the problem of orality and an innovative reading of Vall�s disruptive literary voice, of his seminally modern aspiration toward a wide-ranging politics of contestation through the liberation of oral desire. A work of mordantirony and consumingpassion, of prodigious wordplay and scatological humor, Vall�s's trilogy revels in oral pleasure, in disfiguring improprieties of language that culminate in revolution. In Vall�s's journalism as coup de gueule, in the physical embodiment of a revolutionary voice of the people, it is ultimately a utopic politics of orality that takes shape in the trilogy, one that strives toward radical popular action in the materiality of the voice, at the limit of the body in language: Le Cri du Peuple.

Master the art and science of writing voice with this transformative guide The Writer’s Voice is a comprehensive, hands-on guide to this little-understood aspect of writing. Structured as a twelve-week writing course, the book includes: - Explanations and examples of how stylistic decisions (punctuation, sentence length) affect the reader - Exercises and writing prompts to experiment with different aspects of your writing voice - Strategies for forming a stronger connection with the reader As you work through the sections of this book, you will learn: - How to find more than one “authentic” voice in your work - Ideas for delighting the reader’s inner reading ear - Techniques for shifting your voice based to fit the situation Whether you write fiction or nonfiction, for professional advancement or personal growth, learn to stretch beyond your usual writing comfort zone. You may even discover new joy in writing as you flex your voice beyond its usual boundaries. Invest in yourself and your writing today. Pick up a copy of The Writer’s Voice and start making your voice heard.

Explore using rich, engaging prompts to help students develop a strong writing voice, engage in dialogue about their writing and that of their peers, and set personal goals as writers.

This guide book is the result of a fine tooth-comb on the strategies of writing. Equipped with simple and yet unusual-inflicting techniques, the author unlocks the writing potential of those who are trying to get their foot in the publishing world. Most young writers don’t have access to the tools and techniques used by highly successful writers. The absence of proper guidance is the main stumbling block especially to the writers who are struggling to publish their dream book. But the truth is, you can’t get stuck when you have the right tools and resources. And that’s exactly what this book’s all about! So no matter what your educational level may be, if you want to be an author, use this book today to hone your super writing power. The 5-minutes free write session daily gives you a new approach by tapping into the unreached area of your writing ability. You also get armored with the skills that turn your dull sentences into sparkles, and the writing secrets that leave your readers jaw-dropped!

The second edition of Writing That Makes Sense takes students through the fundamentals of the writing process and explores the basic steps of critical thinking. Drawing upon over twenty years of experience teaching college composition and professional writing, David S. Hogsette combines relevant writing pedagogy and practical assignments with the basics of critical thinking to provide students with step-by-step guides for successful academic writing in a variety of rhetorical modes. New in the second edition: -Expanded discussion of how to write effective thesis statements for informative, persuasive, evaluative, and synthesis essays, including helpful thesis statement templates. -Extensive templates introducing students to conventions of academic discourse, including integrating outside sources, interacting with other writers' ideas, and dialoguing with multiple perspectives. -Examples of academic writing from different disciplines illustrating essay titles, abstracts, thesis statements, introductions, conclusions, and voice. -Expanded discussion of voice in academic writing, including an exploration of active and passive voice constructions in different disciplines and tips on how to edit for clarity. -A new chapter on writing in the disciplines. -Updated sample student papers. -New readings with examples of opposing views and multiple perspectives.

Stance and Voice in Written Academic Genres brings together a range of perspectives on two of the most important and contested concepts in applied linguistics: stance and voice. International experts provide an accessible, yet authoritative introduction to key issues and debates surrounding these terms.

This timely and accessible book offers engaging guidance to teachers of second language students on teaching creative writing in their classrooms. Creative writing is a tool that can inspire second language learners to write more, play with language, and enjoy and improve not only their writing, but also their speaking, listening, and reading skills. Addressing the expectations and perceptions of writing in another language, Thorpe demonstrates how to foster successful creative writing environments and teach and assess creative writing in a way that is tailored to the distinct needs of non-native speakers. Covering key topics such as cultural storytelling, voice, genre, and digital composition, assessment, and more, Thorpe shares successful creative writing instructional practices informed by current research in creative writing and second language education. Each chapter includes insights, advice, and student examples that can help new teachers take their first steps in more reflective second language creative writing classroom. An invaluable resource for instructors of non-native students and an ideal text for pre-service teachers in courses in TESOL, writing instruction, and applied linguistics, this book invites you to use creative writing not only as a successful method for teaching L2 writing, but also as a way to improve student motivation and output, for more effective language learning.

Discover the revolutionary writing practice that can transform your life! In 1976, Linda Trichter Metcalf, then a university English professor, sat down with pen and paper and intuitively started a self-guided writing practice that helped to bring herself into focus and clarify her life as never before. She and a colleague, Tobin Simon, introduced this original method into their classrooms. They experienced such solid response from their students that, for the last twenty-five years, they have devoted themselves to teaching what has now become the respected practice of Proprioceptive Writing®–in workshops, secondary and elementary schools, and college psychology and writing classes around the country, among them the New School University. “Proprioception” comes from the Latin proprius, meaning “one’s own,” and this writing method helps synthesize emotion and imagination, generating authentic insight and catharsis. Proprioceptive Writing® is not formal writing, nor is it automatic or stream-of-consciousness writing. Requiring a regular, disciplined practice in a quiet environment, the method uses several aids to deepen attention and free the writer within: Baroque music, a candle, a pad, and a pen. Presenting Proprioceptive Writing® in book form for the first time, Writing the Mind Alive shows how you, too, can use it to • Focus awareness, dissolve inhibitions, and build self-trust • Unburden your mind and resolve emotional conflicts • Connect more deeply with your spiritual self • Write and speak with strength and clarity • Enhance the benefits of psychotherapy • Awaken your senses and emotions • Liberate your creative energies Featuring actual “writes” by students of all ages, Writing the Mind Alive is a catalyst for mental and emotional aliveness that can truly enrich the rest of your life.

A completely updated guide for first-time novelists Completely revised to include new interviews with best-selling authors; more detailed information on writing genre fiction from paranormal romance to cozy mysteries; and everything a writer needs to know about self-publishing and ebooks to get started. The Complete Idiot's Guide® to Writing a Novel, Second Edition, is an indispensable reference on how to write and publish a first novel. • Expert author with over thirty published novels • Includes interviews with new best-selling novelists • Features new material on writing genre fiction and self-publishing

"For all its orality, oral history has a long-standing, closely entwined relationship with writing. Sound Writing considers the interplay between sound recordings and written literature, looking back to antiquity while focusing on the nineteenth- to the twenty-first centuries. It also refers to a dream of sound writing itself, enabling voices to reach readers directly, cutting out the need for authorial mediation. Oral histories are nevertheless actively mediated, often turned into and received as written texts. There can be value in transforming spoken oral histories in print or on screen, not least in order to make them 'readable' for wider audiences. Indeed, such re-creations can be worthy and wonderful works of scholarship and art--and this book explores a wide range of different forms and media (like the polyphonic novel, and hyperlinked websites) which can most effectively convey speakers' narratives on their own terms--but there is also, always the danger of speakers' voices being distorted or lost in the process of mediation. This book examines how oral histories are co-created, by speakers, by authors, and also by readers. It considers how oral history can inform our understandings of authorship and reading, to reconceive and query their potential as creative, multiple, collective, and activist. Finally, it reflects on the role of authorship in the academy"--