Metro

<br> <br> Prologue: Concerning Writing-Exercises and Ways to Approach Them. <br> <p> PART I. WRITING PROMPTS AND ACTIVITIES. </p> <div style="margin-left: 0.2in;"> 1. Riding the Blue Line—Reading. </div> <br> <p> </p> <div style="margin-left: 0.4in;"> Getting Started. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Of Reading. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Fitting Yourself into the Conversation of Writing You Love. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Reading Yourself. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> And How About Your Reading Habits? </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Your Own Canon. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Reading Your Times: When You Came to Be. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Reading Home: Organizing and Developing Memories. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Correspondences: Imitation and Inspiration. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Collecting Epigraphs for a Textual Mosaic. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Writing Provocations: Responding to Other Writing. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Eight Steps for Inhabiting and Transforming a Poem. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Travels With the Essay. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Reading and Writing Out of Other Art. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> History as a Collaboration of Fact and Imagination. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Shadows, Doubles, and Others. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Can You Name That Epiphany? </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Narrow Road to Mixing Genres. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Reading Form as a Product of Perspective. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Reading and Writing in the Workshop. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Responding to, Evaluating, and Grading Alternative Style. </div> <p></p> <div style="margin-left: 0.2in;"> 2. Riding the Green Line—Invention. </div> <br> <p> </p> <div style="margin-left: 0.4in;"> Getting Started. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Dislodge the Icon of "The Writer". </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Narrative Anxiety Cure-All (Not Sold In Stores). </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Coming to Our Overlooked Senses. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Taste: Writing About Food and Family. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Sounds and Smells. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Places and Things. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Familiar Place as Frontier: Seeing the Rare in the Ordinary. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Beginning with Nostalgia: Lost Childhood Places. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Places, Memories, Desires. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Text(ure) of Public Places. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Writing About or With Objects. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Writing from Expertise, Not Just From Experience. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Language and Form. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Power of Names. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Writing From Your Name: An Introductory Poem (an Acrostic). </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> First Words of Stories: This Sentence, These Words. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Perfect Grammar of Form: Finding Your Own Ideal Form. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Nonsense and Sound Poems: Demystifying Formal Verse. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Burrowing: Writing That Springs from Language Itself. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> There's Something About a Sonnet: Easing Into a 10 X 14 Poem. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Piecemeal Fictions. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Comparison vs. Contiguity: Using Metaphor and Metonymy. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Working With Metaphor. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Premises, Assumptions, Hypothetical Situations. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Y and X-land: Dropping Characters into Places They Don't Belong. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Under What Circumstances Would Someone...? </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Against the Grain: Ignoring Conventional Wisdom. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Against the Grain, Part Two. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Nonexistent Relative: Viewing "The Facts as Malleable. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Ambiguity Is Certainly Useful. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Drama = Conflict = Power. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Story Spinning: 51 Prompts for Story Ideas. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Memory. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Listing and Memory. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Most Important Spectator in Your Writing Life-You. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> How New Writing Grows Out of Old. </div> <p></p> <div style="margin-left: 0.2in;"> 3. Riding the Orange Line—Development and Improvisation. </div> <br> <p> </p> <div style="margin-left: 0.4in;"> Time. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Playing With Time: Some Basic Moves. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Telling Time 1: Order. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Telling Time 2: Frequency. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Telling Time 3: Duration. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Telling Time: Down and Dirty. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Developing Characters, Points of View, and Other Elements. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Character Witness: 20 Questions. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Building Character. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Pardon Me, Your Nemesis Is Showing. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Turning the Lens: Framing Narrative Perspective. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Narrative "Voice and Listeners Within Stories. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Using Delay as an Organizing Principle. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Writing What Cannot Be Filmed. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> A Certain Conventional Element. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Deconstructing and Reconstructing. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Things Are One Way, Then They Are the Other. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Fiction Backwards and Forwards: Interlocking Narratives, Prequels, and Sequels. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> When Losing Control Is About Finding It Again. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> More Work with Language Itself. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Fat Draft and the Memory Draft: When Energy Runs Out. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Thinking Poetically to Develop and Improvise. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Word-Surfing Safari: Playing with Language. </div> <p></p> <div style="margin-left: 0.2in;"> 4. Riding the Red Line—Revision and Editing. </div> <br> <p> </p> <div style="margin-left: 0.4in;"> Strategies: Different Approaches to Revising and Editing. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Executive Summary: How to Respond to Workshop Criticism. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Voices of Revision: What to Do with Advice. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Radical Revision: A Strategy of Risk. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Sentence Sounds: Exploring the "Conjunctive" and "Disjunctive". </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Getting Unstuck: Slowing Down to Pay Attention. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Quickness as Complementary to Complexity. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Forms Within Formlessness: Seeing the Potential Shapes of a Poem. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Old Faithfuls: Some Enduring Approaches to Revision. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Tactics: Specific Tasks of Revision and Editing. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Arbitrary Reviser Looks at Fiction. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Paper, Tape, Scissors: The Arbitrary Reviser Acquires Tools. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Directed Revision and Editing: Variations on Arbitrary Revision. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Writing Between the Lines: Revising as "Adding To" Not "Taking Away". </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> "Blowing Up" Your Poems: Large-Font Revision. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Revising Openers in Prose Genres: Eight Options. </div> <p></p> <div style="margin-left: 0.2in;"> 5. Union Station—Alternative Guided-Writing Scenarios. </div> <br> <p> </p> <div style="margin-left: 0.4in;"> Multiauthored Texts. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Coauthoring-Some Whys and Wherefores. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Dream-Wandering: Writing with a Group. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Public Poetry. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Video-Poem: Let Each Medium Teach the Other. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Experimental Forms and Less Familiar Modes. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Writing from Your Autobiography Box. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Parodies-Pushing Imitation to the Edge. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Palimpsest: Writing "Over" the Forbidden Story. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Possibility of Play and the Play of Possibilities: Trying Writing Games. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Multimedia, Cross-Cultural Writing. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Virtual Hypertext Game. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Fortuitous Textual Coincidences; or, When Fragments Collide. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> What the Words Grow Out Of: Building Multidimensional Collages. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Flooding Yourself: A Strategy to Gather, Freewrite, Assemble, Construct. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Vantage Points on Language. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Center Holds: Weaving Multiple Discourses in a Single Text. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Warp and Weft: More on Weaving. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> What Hands Make: Using "Instructions" as a Model for Other Writing. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> In the Same Breath: Rewriting as Part of the Conversation. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Silence. </div> <p></p> <div style="margin-left: 0.2in;"> 6. Exact Fare—Guided Writing Related to Selected Matters of Grammar, Precision, Style, and Punctuation. </div> <br> <p> </p> <div style="margin-left: 0.4in;"> Behold the Sentence. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Care and Feeding of Sentences. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Sentence as Style. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> What's In a Sentence: The Possibilities Exposed by Breaking the Rules. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Building-Block Stories: Practice Mixing Sentence Styles. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Animal, Vegetable, or Mineral? Writing Using Only Question Sentences. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Dueling Banjoes: The Use of Parallelism. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Sentence Economics. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Grammar, Punctuation, and Creativity. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Grammar-Check Your Favorite Author. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> This Adventitious Music: Exploring Grammar with Nonsense Writing. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> By All Devious Means (But With Grammatical Consistency). </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Problem (Okay, One Problem) With Punctuation. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> In Praise of Punctuation. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Word-Choice in Particular, Language-Awareness in General. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Words: Choice and Precision. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Figures of Speech. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> The Opposites of Everything. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Poetry Phobia Cure-All (Not Sold in Stores). </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Scavenger Hunt. </div> <p></p> <p> PART II. MINI-ANTHOLOGY. </p> <p> </p> <div style="margin-left: 0.2in;"> Audre Lorde, Learning to Write (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Marilyn Hacker, Elektra on Third Avenue (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Hunt Hawkins, Mourning the Dying American Female Names (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Langston Hughes, Harlem (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Emily Dickenson, #712 ( Because I could not stop for Death-) (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> John Keats, Ode to a Gregian Urn (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Marilyn Chin, Where We Live Now (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Peter Meinke, (Untitled) (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Pablo Neruda Arte Poetica (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Pablo Neruda The Art of Poetry translated from the Spanish by Robert Bly (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Hans Ostrom, Of Reading (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Sylvia Plath, Metaphors (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Anonymous, [Early English riddle] (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Karl Shapiro, Drug Store (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Marie Silkeberg, from Black Mercury translated from the Swedish by Hans Ostrom (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> William Carlos Williams, The Children (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> William Wordsworth, Lines written a few miles above Tintern Abbey (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> W. H. Auden, Muse des Beaux Arts (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Wendy Bishop, Horoscope Imperatives: A 'Found' Ghazal (poem). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Anonymous, Go Down, Moses (song lyric). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Five Sonnets: </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> William Shakespeare, My Mistress' Eyes Are Nothing Like the Sun. </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Robert Frost, Design. </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Floyd Skloot, My Daughter Considers Her Body. </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Robert Pinsky, Sonnet. </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Gerard Manley Hopkins, The Windhover. </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Pico Iyer, In Praise of the Humble Comma (essay). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Mary Paumier Jones, Meander (essay/creative nonfiction). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Rick Moody, Primary Sources (essay). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Hans Ostrom, Anomalies in Relief: Notes of a California Expatriate (essay). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Richard Wright, Library Card (essay). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Will Baker, My Children Explain the Big Issues (essay). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Jill Carpenter, Consanguinity (essay/creative nonfiction). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Nancy Krusoe, Landscape and Dream (short story). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Jack Matthews, A Questionnaire for Rudolph Gordon (short story). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Tim O'Brien, How To Tell a True War Story (short story). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Sheila Ortiz-Taylor, Street Map and Imaginary Parents (short stories). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Grace Paley, A Conversation With My Father (short story). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Grant Cogswell, Paris in '73 (short story). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Katharine Haake, Arrow Math (short story). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> William Shakespeare, excerpt from Hamlet (drama). </div> <p></p> <p> </p> <div style="margin-left: 0.2in;"> Diane Marre A Really Big Shoe (performance piece). </div> <p></p> <div style="margin-left: 0.2in;"> Suggested Reading. </div> <br> <p> </p> <div style="margin-left: 0.4in;"> Reference Books. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Anthologies. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Criticism and Theory. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Books on Writing. </div> <p></p> <p> </p> <div style="margin-left: 0.4in;"> Publishing. </div> <p></p> <div style="margin-left: 0.2in;"> Glossary. </div> <br> <div style="margin-left: 0.2in;"> Acknowledgments. </div> <br> <div style="margin-left: 0.2in;"> Index. </div> <br>