* A practical guide for students in writing classes of all kinds: creative writing, professional writing and academic writing; * Covers writing for online publication including social media as well as the most common documents in university and writing-reliant workplaces; * Provides extensive practical examples, exercises, activities and quizzes, as well as online resources including video interviews with the top grammarians in the world

* A practical guide for students in writing classes of all kinds: creative writing, professional writing and academic writing; * Covers writing for online publication including social media as well as the most common documents in university and writing-reliant workplaces; * Provides extensive practical examples, exercises, activities and quizzes, as well as online resources including video interviews with the top grammarians in the world

An exploration of the burgeoning field of Anglophone Asian diaspora poetry, this book draws on the thematic concerns of Hong Kong, Asian-American and British Asian poets from the wider Chinese or East Asian diasporic culture to offer a transnational understanding of the complex notions of home, displacement and race in a globalised world. Located within current discourse surrounding Asian poetry, postcolonial and migrant writing, and bridging the fields of literary and cultural criticism with author interviews, this book provides close readings on established and emerging Chinese diasporic poets' work by incorporating the writers' own reflections on their craft through interviews with some of those featured. In doing so, Jennifer Wong explores the usefulness and limitations of existing labels and categories in reading the works of selected poets from specific racial, socio-cultural, linguistic environments and gender backgrounds, including Bei Dao, Li-Young Lee, Marilyn Chin, Hannah Lowe and Sarah Howe, Nina Mingya Powles and Mary Jean Chan. Incorporating scholarship from both the East and the West, Wong demonstrates how these poets' experimentation with poetic language and forms serve to challenge the changing notions of homeland, family, history and identity, offering new evaluations of contemporary diasporic voices.

"Reliably insightful." - Publishers Weekly The first step to becoming a successful writer is to become a successful reader. Helping you develop your critical skills How to Read Like a Writer is an accessible and effective step-by-step guide to how careful reading can help you improve your craft as a creative writer, whatever genre you are writing in. Across 10 lessons - each pairing published readings with practical critical and creative exercises - this book helps writers master such key elements of their craft as: * Genre - from fiction, creative nonfiction and poetry to hybrid genres such as graphic narratives and online forms * Plot, conflict, theme and image * Developing characters - physical descriptions, psychological depths and actions * Narrators and points of view - 1st, 2nd and 3rd person narratives * Scenes and settings - time, space and place * Structure and form - length, organization and media * Language, subtext and style

With the globalization of business, American snack maker Boltz Foods is expanding into world markets and a naive American businessman who's never traveled abroad is selected to lead the way. Pursued by a Japanese competitor bent on sabotage, this comic adventure weaves in and out of different time- zones through a Japanese resort, Russian sauna, French restaurant, German barbershop, Westminster Abbey, Spanish bullring and the Tower of Babel. Going Global is a slapstick portrait of a clueless American caught up in a whirlwind of wacky multi-cultural gaffes, who at the end, finds there's no place like home."

Using side-by-side pairings of first drafts and final versions, including full-page reproductions from the poets’ personal notebooks, as well as an insightful essay on each poem’s journey from start to finish, The Art of Revising Poetry tracks the creative process of twenty-one of the United States’ most influential poets as they struggle over a single word, line break, or thought. This behind-the-scenes look into the creative minds of working poets, including African American, Latino, Asian American, and Native poets from across the US, is an essential resource for students practicing poetry, and for instructors looking to enliven the classroom with real world examples. Students learn first-hand from the deft revisions working poets make, while poetry teachers can show in detail how experienced poets self-edit, tinker, cut, rearrange, and craft a poem. The Art of Revising Poetry is a must-have for aspiring poets and poetry teachers at all levels.

Hopscotch is a six-level primary series that follows an accessible, traditional, easy-to-teach methodology with a speaking and listening focus in the early levels and reading and writing introduced explicitly from Level 3 onwards. ? Filled with engaging National Geographic photographs and content that captures the imagination of young learners, Hopscotch introduces language and skills through a fun and friendly cast of main characters - a boy, girl, crocodile, parrot and bear!

Nadezhda Ptushkina's plays reflect her keen interest in constructing multidimensional characters that reflect the myriad ways people are affected by today's turbulent world. Often writing strong female roles, she does not shy away from exploring the sometimes tragic implications that lie behind her comical, almost farcical scenes. Ptushkina questions the nature of love, and explores the boundaries between the spiritual and the base, the constructive and the destructive, that lie within every human being. Conflict between the sexes constitutes the core of Ptushkina's plays, in which she warns the audience against confusing sex and love. Ptushkina rejects any notion that men and women are the same, seeing gender differences rather than personality differences as the main source of tension between men and women. Her plays thus dwell on this 'battle of the sexes' and the resulting lack of respect for women that she sees in today's Russia.In this new translation, western readers have a chance to discover why Ptushkina's work holds such wide appeal in the Russian theatre.

George Orwell set out 'to make political writing into an art', and to a wide extent this aim shaped the future of English literature - his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell's essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In The Prevention of Literature, the third in the Orwell's Essays series, Orwell considers the freedom of thought and expression. He discusses the effect of the ownership of the press on the accuracy of reports of events, and takes aim at political language, which 'consists almost entirely of prefabricated phrases bolted together.' The Prevention of Literature is a stirring cry for freedom from censorship, which Orwell says must start with the writer themselves: 'To write in plain vigorous language one has to think fearlessly.'

It's not what you think. You may have heard Casanova's legend, but have you heard his heart? Could you read between the lines of the playwright who wrote the play Casanova and why he assumes that role of his character given the power of Cupid's bow and arrow? But he is just like you and I. After all, we all use the power of the bow and arrow in some form, whether through beauty, power, or wit. And we use that power to some extent to shapes love's stage. Admittedly, some are better than others. And of course, our intentions are good. Well, at least we try most of the time. But unfortunately there are desires and motivations which we know not of, and nor do we know where they are from. In fact, we just don't know ourselves. If you were given all the power of the bow and arrow, how would you act? Is there any guarantee that your aim would be any better than the blind whims of Cupid? Especially in a world where love loves to hide, mask itself in indifference and most of all, act. We will quickly learn that the real story is what is happening behind the stage, under the stage, in the earth deep below the stage, over the stage, behind the pen, inside the heart, in the heavens, and in that place so distant and so far back-a place called home. This is a story dictated by characters with no roles, stars with no spoken parts, no cameos, and no love shared at all. Something happened that moved Casanova's heart. It moved the characters on the stage, and it is about to move the heavens. It seems today that the earth is shaking and the ground is moving, and it is getting more frequent. You had better check your foundations like Casanova did. If our house is unsteady, perhaps we might want to checkhere, and it might just heal the world.