Myth and Creative Writing is a unique and practical guide to the arts of creative writing. It: Gives a historical perspective on the storyteller's art Takes a wide view of myth, to include: legends, folklore, biblical myth, classical myth, belief myths, balladry and song. Considers all aspects of the creative process, from conception to completion Provides tips on seeking inspiration from classical and mythic sources Shows how myths can be linked to contemporary concerns Enables beginning writers to tap into the deeper resonances of myth Guides students to further critical and creative resources A secret that all writers know is that they are part of a long tradition of storytelling - whether they call it mythic, intertextual, interactive or original. And in the pantheon of storytelling, myths (those stories that tell us, in often magical terms, how the world and the creatures in it came to be) are the bedrock, a source of unending inspiration. One can dress the study of literature in the finest critical clothing - or intellectualise it until the cows come home - but at its heart it is nothing more - and nothing less - than the study of the human instinct to tell stories, to order the world into patterns we can more readily understand. Exploring the mythic nature of writing (by considering where the connections between instinct and art are made, and where the writer is also seen as a mythic adventurer) is a way of finding close links to what it is we demand from literature, which is - again - something to do with the essences of human nature. Further, in the course of examining the nature of myth, Adrian May provides a very practical guide to the aspiring writer - whether in a formal course or working alone - on how to write stories (myths) of their own, from how to begin, how to develop and how to close.

From Bataille to Badiou: Lignes: the preservation of Radical French Thought, 1987-2017 provides an exhaustive reading of the significant yet understudied intellectual review Lignes, from 1987 to 2017, to demonstrate how it has managed to preserve and develop the legacy of French radical thought often referred to as 'French Theory' or 'la pensee 68'. Whilst many studies on intellectual reviews from the 1930s to the 1980s exist, this book crucially illuminates the shifting intellectual and political culture of France since the 1980s, filling a major gap in contemporary debates on the continued relevance of French intellectuals. This book provides a strong counter-narrative to the received account that, after the anti-totalitarian 'liberal moment' of the late 1970s, Marxism and structuralism were completely banished from the French intellectual sphere. It provides the historical context behind the rise of such internationally renowned thinkers such as Alain Badiou, Jacques Ranciere Jean-Luc Nancy, whilst placing them within an intellectual genealogy stretching back to Georges Bataille and Maurice Blanchot in the 1930s. The book also introduces the reader to lesser known but nonetheless significant thinkers, including Lignes editor Michel Surya, Dionys Mascolo, Daniel Bensaid, Fethi Benslama, Anselm Jappe and Robert Kurz. Through the review's pages, a novel cultural history of France emerges as intellectuals respond to pressing contemporary issues, such as the fall of Communism, the European migrant crisis and rising nationalist tensions, the globalisation of financial capitalism and the 2008 economic crisis, scandals surrounding paedophilia and the return of religious thought to France, as well as debates on literature and the political value of art.

Myth and Creative Writing is a unique and practical guide to the arts of creative writing. It: Gives a historical perspective on the storyteller's art Takes a wide view of myth, to include: legends, folklore, biblical myth, classical myth, belief myths, balladry and song. Considers all aspects of the creative process, from conception to completion Provides tips on seeking inspiration from classical and mythic sources Shows how myths can be linked to contemporary concerns Enables beginning writers to tap into the deeper resonances of myth Guides students to further critical and creative resources A secret that all writers know is that they are part of a long tradition of storytelling - whether they call it mythic, intertextual, interactive or original. And in the pantheon of storytelling, myths (those stories that tell us, in often magical terms, how the world and the creatures in it came to be) are the bedrock, a source of unending inspiration. One can dress the study of literature in the finest critical clothing - or intellectualise it until the cows come home - but at its heart it is nothing more - and nothing less - than the study of the human instinct to tell stories, to order the world into patterns we can more readily understand. Exploring the mythic nature of writing (by considering where the connections between instinct and art are made, and where the writer is also seen as a mythic adventurer) is a way of finding close links to what it is we demand from literature, which is - again - something to do with the essences of human nature. Further, in the course of examining the nature of myth, Adrian May provides a very practical guide to the aspiring writer - whether in a formal course or working alone - on how to write stories (myths) of their own, from how to begin, how to develop and how to close.

Tradition in Creative Writing: Finding Inspiration Through Your Roots encourages writers to rediscover sources of creativity in the everyday, showing students how to see your writing as connected to your life. Adrian May addresses a key question for many beginning writers: Where do you get your ideas from? May argues that tradition does not mean anti-progress-but is instead a kind of hidden wealth that stems from literary and historical traditions, folk and songs, self and nature, and community. By drawing on these personal and traditional wellsprings of inspiration, writers will learn to see their writing as part of a greater continuum of influences and view their work as having innate value as part of that cultural and artistic ecology. Each chapter includes accessible discussion, literary and critical readings, creative examples, and writing exercises. While the creative examples are drawn from song lyrics and poetry, the writing exercises are appropriate for all genres. Undergraduates and practitioners will benefit from this guide to finding originality in writing through exploring sources of creative inspiration.

Matters of Time provides an unorthodox array of perspectives on materialist thought and representation in twentieth-century French intellectual culture. Time is figured as the quintessential revolutionary concept, through key historical moments from Jean Jaures' orientation of the socialists at the turn of the century to the inter-generational conflict and politicization of everyday life in May '68. Essays on dialectics and theories of teleological progress are placed side by side with accounts of the existential turn in Marxist thought in France. Contributions on Heidegger and Sartre inject meditations on human mortality into considerations of a new politics of finitude. The volume also emphasizes the inseparability of aesthetic and political thought for the French avant-gardes: chapters on Sade, Artaud and Jarry place Marx's theories of production and commodity fetishism into contact with bodily abjection. The manipulation of time in cinema and matter in painting are examined as a testament to the twentieth century as a period of continuing experimental tension between form and signification. Generational futurity is explored through Genet's spatial representations of filiation and Verlaine's proto-ecological attunement to nature. The volume as a whole constructs a necessarily fragmented timeline of the breaks, tensions and antagonisms in twentieth-century French thought, culture and politics, with particular focus on questions of late capitalism and political, intellectual and aesthetic progress and regress.